Play Worship Piano - From Basic to Brilliant

1. 0 Course Trailer: Hello friends. My name is Joseph. I'm a composer and pianist, and I'll be your instructor for this course. So if you've been looking for a piano cause that'll help transform, you will play in from basic to brilliant. Then this is the right course for you. In this course, we learn how to play worship songs, use, and courts. Now before we do that, we build a solid foundation. Look him at cords, how be formative and different types of chords. We have major, minor, augmented and so forth and so on. And then we begin to put all this together and start looking at chord progressions. This is where we learned to play songs and the courts we've already alone. So I provide you step-by-step approach to how to break down maybe song into its various components and figure out what chord stay plane when it bursts and one knows the plan. I also provide you soundtracks to help you practice what you learn in this course. Not only that, I also teach your chord voicing, which is one of the secrets to transform anymore claim from basic to brilliant. I show you how to move notes around and eliminate some nos and basically how to distribute the nodes between both hands. Plain sounds like the professionals that you liked listening to. Not only that I0, so give you tips, practical tips to help you be an effective keyboard player or pianist and a praise and worship band. I provide tips on how to play when you are in a band versus when do you play in all my yourself in a sober situation. I also give you tips on sound selection with sounds you can use to enhance your claim that live in the surface. And then I give you tips on how to work as a team, how to be an effective team player and Vietnam play in return. You may add for that matter, you need to know how to work with people so you can be successful. This course is packed with other bada content, very, very helpful content. All of them are coming from my years of experience being involved and appraiser horse ministry. So I'm so excited that you decided to check this course out. I will see you inside, have ready to teach. 2. 1 Scale: Hello friends. In this lecture we are going to be looking at the scale and why it's important as scale as a series of seven different nodes that start and end on the same note. So for example, if we wanted to build a scale based on the key of C, we would stat on C. And starting on C, C becomes the root note because C is the note upon which the scale is built. So we would proceed as this, C, D, E, F, G, a, B. See, if we wanted to play it back, we would do it like this. C, B, a, G, F, E, D, and C. Now in order to play this correctly, you have to apply the correct finger into. And so you have found this number one, your index fingers, number two, your middle fingers, number three, your ring finger. And before Nan your pinky is number five. So we're going to play the scale again using the fingered numbers. So it's going to be 123. And then once we get here, we wrote the thumb under, and so it becomes 12345. Now let's play it backwards. 54321321. Now let us try to play the same scale, but in a different key. So now we are going to play it in the key of D. So it would go something like this. D, E, F sharp, G, a, B, C sharp, D. Let's play it backwards. D, C, B, a, G, F sharp, E, and D. And I recommend that you go through the rest of the keys. As you know there 12 keys. It's a good idea to always practice things in all 12 keys. That way you can play it in any key. Alright, so you can take the key of e and then run through it like that. And you could even take f and do the same thing. But why is the scale important? Well, it's important for a number of reasons. I'm gonna give you a few. Here. Let's say you want to play a song, maybe a song like, I don't know, maybe twinkle, twinkle little star. If, if you know the notes in the scale, then you'll be able to play the tune correctly. If you don't know it, then you're not going to be able to play it. Let's say we wanna play it in the key of D in, I don't know all the nodes in the scale of D, that is going to be hard for me to play it. But if I know it, then I know it's simply something like that, right? And another important thing about the scale is that if you don't understand the scale is going to be hard for you to understand what is called chord progressions. Because chords built on the scale. So if you know the scale very well, if you know the D scale, you know the C-scale, whatever key it is, if you know it well and you are listening to music, you'd be able to determine the core, stay a plane and the song, you'd be able to say that, okay, the song is in D And the plane, something in E minor, then you would know that, okay, well, that's the second chord, or it's a chord based on the second note of the scale and something like that. So it's very important to understand the scale. Without it, it's going to be very hard to be able to do any kind of music. So I hope you understand that. So I'll see you in the next lecture, but I want you to practice the rest of the scales in the different keys ran through all 12 keys. If you have any questions, post them and I'll try to answer them. See you in the next lecture. 3. 2 Scale Degree: Hello friends. In this lecture, we want to continue to build on this scale. So there are different kinds of scales, but at this point we are just limiting ourselves to major scale and the minor scale. The difference between the major and a minor scale is this. On the minor scale you have the third flattened. So instead of c, d, e, you have C, D, E flat. And another difference is that on the six, you have a flattened six and a flattened seventh. So it's no more. But it's rather, Okay, so if we put all together, we get C, D, E flat, F, G, a flat, E flat, and then back to see, same thing backwards. So that's the difference. Let's talk about scale degree. When we say a scale degree, what we are trying to say is this. Each note of the scale has a special name, and that's the scale degree. It's basically are nodes relationship to the root node. The root node, remember from the previous lesson was the key upon which the scale is built on. So if we take the scale of c, again, K, c is one, and the first degree is called the tonic. The tonic, OK, that's where we get the tone, the key. Okay, so the tonic, right? And then if we go to D, right, that's the second node. And in the language of salt fish, that would be okay, that's called the supertonic. Okay? This is the tonic, this is the supertonic. Now, the third degree in the major scale is called the mediant. It's in the metal, OK, median, right? And the fourth degree is the Dominant. Basically SOP means before the dominant. So the fourth degree is subdominant and guess what? The fifth degree is the dominant. Dominant. And then you have the six degree, which is the SOP median. And then the seventh degree is the lead guy. Why is it the lead in L? Because is lead into c, t go like that. Okay? So we have the tonic, the supertonic, the median, the sub-dominant to dominant submediant lead Intel. And then back to the tonic. See you in the next lecture. 4. 3 Key Signature: Hey friend. In this lecture we want to look at key signature. So an other to play any song, there are some key pieces of information you need to be able to play the song. One of them is the key signature. It's basically telling us what key are we playing the song in, or what key a song written in? So for example, if we take the C-scale, All right, so we've got C, D, E, F, G, a, B, C. Okay? If you look at the C-scale, you're going to notice a few things. You're going to notice that there are two black keys here. Okay? So, and see, and then these black keys. So if you move from C to C sharp, and then from C sharp to D, It's almost like moving a whole step. So you move from here to here, that's a half-step. And then you move from here to here, that's a half-step. So half plus half, you get one whole step. Move in this direction. Okay? Same thing here. But when you get to e and f, you realize there's no black key in there. So from E to F is a half-step, or what is called a semitone half-step, half of a tone. Now you notice that when you get to B and C, you've got the same scenario there as well. So B and C, there is no black key in between them. That's also a half-step. And so the rule is that half-step, so semitones are supposed to or care between third, fourth, 1234, in between here, like it is in C. And then seventh, eighth here, okay? So semitones, half-steps and supposed to, okay, between the third, fourth, the seventh, eighth. Keep that in mind. Now let's try to play another scale. Let's say the D scale. Okay, let's look at it. So from D to E, that's a whole step because it's like moving from here to here. And then from here to here, that's a whole step. From either F, S, a half-step. So we run into a problem. What's the problem? Well, we suppose to have half steps between 34708, but in the key of D is happening between 23. We don't want it there. So what do we do? This is where we employ accidentals. By accidentals, I mean your sharps and flats. So a quick refresher. Well, a sharp raises a note by a half step. And a flat desk the opposite it lowest and known by the half step. So now that we're here, and we don't want a half step between 23. What do we do? We need to introduce a sharp so we raise the f. Now it's no longer an f. Now it's an F sharp. So now becomes from here to here, a whole step, from here to here is a whole step because it's like going from here to here, and then from here to here. Alright, let's continue. So now we have a half-step of care and between the three and the four, as the rule says. Okay, let's move on from here to here. S a whole step from here to here as the whole step from six to seven as a half-step, we've run into another problem again. Again is going to take another accidental, which would be the sharps. So we sharpen the C, and now it becomes C sharp. So now from six to seven as a whole step, and then from seven to eight as a half-step, asks, the rule says, alright, so what do you play in the key of D? Remember that you have two nodes, or two keys have accidentals. They have sharps, F and C Sharps, F-sharp and C sharp. So now if you want to play the scale of D, Now it's like this. D, E, F sharp, G, a, B, C sharp, D. I. What I recommend you do is you take the rest of the keys and work through them. So take E, guy. So now we know that E has four sharps, F sharp, G sharp, and then C sharp and G sharp. Alright? So knowing all of this, now when you playing music or written music is put in front of you, a lot of the times you're going to see that in the key of D, they've got two sharps. Ride in front of the Clef. Ok, so you would have F sharp and then C-sharp its tail in you that all the f's in the seas sharpened in the music. If there are cases where they don't want you to do that, they would introduce another sign called The Natural. Okay. That will tell you that, okay, when it gets to this, no. And this measure, instead of plain F-sharp play F natural instead of plain C-sharp played C natural. Okay? So it's very important. So now when you are playing music and you see, okay, two sharps and front of the music at the beginning of the piece, you know that the key is D. When you see four sharps, you know, the key is an E. When you see three sharps, you know, okay? That's in the key of a, you see one flat, you know that, okay, it's key of F and so on. But the key here is walk through so that you know all the key signatures that will help you a lot so you don't have to struggle the moment you see one flat. You know, we are dealing with the key of F. More menu, you see one sharp. You know, we are dealing with the key of G. So I recommend that you go through all 12 keys to figure out what nodes have been chapped and then would notes up been flattened. It'll be worth you the time that you invest in doing all of that. And I'll see you in the next lesson. 5. 4 Practice Scale: Hello friends. In this practice lecture, what I want you to do is I want you to work out the key signatures of the following scales. So take the E Major Scale and then work it out. So first what you would do as you would write out all the nodes. So let's say E, F, G, a, B, C, D, E. Now obviously that's not the correct notes and the E Major scale. But I want you to write it out like that and then work through it, figure out where the key signatures are. So you take, for example, E to F, That's a whole step. We don't need a whole step there. So we show up in the air and then he puts it here. Okay. And then we keep moving like that. So I want you to walk through that. Take the F major scale, do the same thing, G major, a and so forth and so on. You want to be able to do this in all 12 keys. Again, I can't stress that in half. That's very, very important. If you're going to be very efficient on the piano, you need to know all 12 keys. You need to know how the scales are put together. So go ahead and work through that. And I've also included a download or you can practice that. I've got all the notes written out, but then you would have to supply the key signatures in there. So go ahead and download that and work through it. And I'll see you in the next lecture. 6. 5 Intervals : Hello friends. In this lecture we are going to be looking at intervals. So the distance between any two musical nodes is an interval. So let's say if we were to take c and e, the distance between that is what is called an interval. Now there are two aspects of intervals that you need to understand. The first one is the numeric size, and then the second one is the quality or the type. Okay, so let's look at the C-scale again. If we go from C to E, okay, that's 123. So that's a third. Okay, so that's the numeric size. Now, what about the quality or the type? Okay, so it's a third. What kind that third is it is it a major third or a minor third? So in this case it's a major third, right? How about if we went from C, D to E-flat? That's still a third. Okay, but what quality is it? It's a minor third. I hope that makes sense. So this is a major third, and that's a minor third. And now let's go through the intervals in the major scale using the same c scale. So from c to d, That's a major second. From C to E. That's a major third from C to F. That's a perfect fourth. From C to gene. That's a perfect fifth from C, the a, that's a major six. From c to b. That's a major seventh. And then from C to C, that's a Perfect Octave and octave as simply an eighth. So 12345678. Okay, how about the intervals and the minor scale? Well, it's similar except for a few notes that have been flattened. So remember that the minor scale, we played it like this and see, right? So from c to d, That's a major second from C to E flat. That's a minor third. From C to F. That's a perfect fourth. From C to G, as a Perfect Fifth. From C. The a flat. That's a minus six, from C to B flat, that's a minus seven. And then from C to C, that's a perfect octave. Okay? So that's the intervals and the minor scale. I hope it makes sense. So go through the rest of the keys, you know, take a D and then try to work it out. Remember, it's always a good idea to work through all 12 keys. And see you in the next lesson. 7. 6 Triads: Hello friend. In this lecture we are going to be looking at triads and courts. Accord is the general name for notes played together. So let's say if I would do something like this. So I have 1234 notes played together. That's a cord. What about a triad? Triad is a three note chord. Build on the n evolve thirds. So if I play something like this, ok, that's a C triad, right? It's a specific kind of chord. Now what is it? Triads at bail tone and a fifth. Okay? Remember intervals? And then a third fifth. So we play them together and we get the C triad. Also look at it like we've got a C and then a major third and a minor third from here, but there. Okay, so we've got root third, fifth, or root major third, and a perfect fit like that. So that's the C triad. Okay? How about a D flat or C sharp triad? Same principle. Major third, fifth, right? So that's the C-sharp triad or to D flat triad. How about D is the same thing? And fifth. Ok. How about E-flat? And fifth? E. Same root. Third, fifth. How bad f root, third fifth, F sharp. And you've got your root third fifth. For G, You got g, b root third fifth, a flat root, C. And E flag, right? How bad? A, a, C sharp, E, u root, third, fifth, B flat, B flat, D, and F, AB AD a, B. And your fifth menu back to C. So basically what I did is I ran through all 12 keys. And this is very important and I cannot stress this enough. You need to know how to play or 12 keys. And no more than keywords today have transpose buttons on there and all of them. That's not going to help you. You need to know all 12 keys. Very, very important. So what I want you to do is to go through all the 12 keys like I did. You start from C, right? Then you go to see E-Flat. So on, go through all the major chords, okay? And the major triads go through, and it's very, very important. Now what do you do? Let's say you want to build a minor triad? Well, it's actually very simple. It's just major triad. Remember from our lecture on intervals, the difference between the major scale and the minor scale was that you have, and the minor scale you had the third there was flattened and then also you had the 67 as well. So if we wanted to build a minor as let's say a C minor triad, okay, we've got to have a root node. Then we need a minor third like that, and then we need a fifth, a perfect fifth. So that's the C minor triad. Then, and we can go through all 12 keys, bailed in triads, minor triumphs like that. So C minor, okay? And then we go up a half step, and then it becomes a D flat minor, like this root. Third, fifth, D minor. Like that. We want a D flat, excuse me, an E-flat minor. It's like this. Myelinate their fit. E minor. Same thing. We want an F minor route, Mayan at their fair. We want an F sharp minor. F sharp, C sharp, G minor, G, B-flat, and D, like that. A flat minor, a minor, B flat, B. And then back to C minor. 8. 7 Inversions: Hello friends. In this lecture we're going to be looking at him versions, which I call the numbers game. You'll find out very soon. So if the lowest note of the chord, your plane is the same note as the root of the chord. Then your chord is in the root position. I'm going to say that again. If the lowest note of the chord is the same note as the root of the chord. Then it's in the root position. Let's take the key of D, for example. So this is the D chord, right? You have your root. Third fifth, okay? Say you play it like that. The root third fifth. If your chord is like this, where the root node is also the lowest note. Okay, this is the lowest note. This was the highest note. So if it's voiced like this, then we say that you have voiced the cord in the root position. Okay? Same thing with C or any other key. Alright? However, when another note of the chord a PSS the lowest sound and no, then you have an inversion, the same chord here. If you decide to move this and put it, let's say here, okay? So that the lowest note is no longer the root node, but another note. So if we move it here, it's going to be like this. F sharp a, and then to D. Okay, so now it sounds like this. Okay? How about if we decide to move this and put it here? Now we have this. Okay? So now it's no longer this alone. But we've got this, we've got that. And then we've got this. When you play it like this is called the first inversion. First inversion, you have inverted the court. So now as this, and then this is the second inversion. Now you may have guessed it. The more nodes you have in a cord, the more inversions you're going to have. So if you have a three note chord, a triad, then you're going to have two other inversions in addition to the root position. Now why do I call it the numbers game? Because as your root chord, you have the 135. Alright? So 135, you can decide to play with the numbers and now you've got 351. What else can we do? We can do 513, okay, so 5.1.3, 3.5.1, and then 135. So I want you to take this through all 12 keys, okay, so ran through it like that. Take another key. Okay? Now what I want you to do is, let's say you take the D chord right, on your right hand, just run through it, like so. And then your left hand, as you change the lowest note, the left-hand would play each of the node that has the lowest. So this is what I mean. So if you're here, I left hand is doing the lowest. No. If you go here, left hand is doing the lowest note. If you go here, still in the lowest note, if you go here, it's due on the lowest note. So you could do something like this. Okay? Now I've, inversions are very important because if all you're doing is voice and all your courts and a root position. So let's say you have a D and then you have a G, you go here and then an a. You do this. It's like you're jumping around too much. And that's not how piano players play in. That's not even how composers write out piano Pat, piano parts when they're, you know, harmonizing or arrange in the music. And so inversions become important. Sometimes it's easy to go from a D here to a G here, okay? Because you transition very smoothly, then jumping from here to there, right? As you're going to find out later in the course as we go through it and learn about voice and things like that. So for now I want you to go through all 12 keys and land all the inversions. Do you a lot of good. I cannot stress that. I want you to be proficient on this instrument. I don't want you to be somebody who depends too much on the transpose baton. That's not what you want to do. You want to know all 12 keys. All right, I'll see you in the next lecture. 9. 8 Diminished Triads: Hello friends. Welcome back. In this lecture we are going to be talking about diminished triads. So there for basic triads and music, you've got the major, which is based on a major scale. And then you have a minor, which is based on a minor scale. You also have what's called a diminish and augmented. These are based on intervals or in relation to other triads we already know. Okay, so let's talk about the diminished first and then we'll look at the augmented in another lecture. So let's say we want to build as C diminished chord. The diminish its belt on thirds. Ok, so if we take a c like that C, and then we move a minor third like this. And then from here we move another minor third. So as this. Okay? So now we put all together and we have a C diminished chord. I fair. See, diminish. So that's the sound. And the C diminished chord. You can also play a D flat diminished chord. You can do a D diminish. E flat, diminish, diminished, half diminish. F-sharp diminish, can do a j diminish at, sorry. At G, diminish a flat, diminish, a diminish. E flat, diminish, E, diminish. And then back to c. So I recommend you read through all 12 keys. You want to be very, very good in all 12 keys. That's like an unwritten rule as a pianist. As a musician, you need to know all your keys. Okay, so ran through all 12 keys. Interesting thing about get diminished chord that you may not have realized this, but when you watch movies and it gets to scenes that are very scary, they tend to use diminished chords a lot. So you may see something like they may have ran through the different kinds of diminished so to different keys. So let's say they would do, see diminish, and then they would do in E-flat diminish, alright, and it will do an F sharp diminished and, and they would do in a diminished, right. Okay? Then the left-hand could be. So a left-hand sort of creates that movement. You get the illusion that it's moving. But it could be the same chord that the SDN their betters just same chord. Okay? And you tend to also hear a lot of diminished and gospel music toil and evident the hymn nulls, if you know the hands, you would know for a song like Greatest they faithfulness the part where it goes. So their score as a diminished chord. Now later on we end the course, we would learn more about at the kinds of diminished. All right, so I recommend that you go through all 12 keys playing the diminished chord, practice it, go through it. I even recommend doing it with both hands, not only the right hand, you need to get your left-hand used to play in courts as well. Okay. So go through it with both hands, get proficient in that. And I will see you in the next lecture. 10. 9 Augmented Triads: Hello friends. In this lecture we are going to be looking at augmented triads. So augmented triads are formed by stack in two major thirds together. And it tends to have this open in dreamy sound. Okay, let me show you what I mean. So let's say we take the de corps act that we have from D to F sharp, that's a major third. If we go from here from the F-sharp and other major third and lands on the B-flat. Alright? So if we put all together, we have this kind of chord. So we have a d augmented, okay, and listen to how append the sound is, okay. We can even ran through the inversion, so it's like they're there. And you've heard this sound alive in movies and even in music media, something like this, something like that. Okay, so go, again, go through all the 12 keys. For C, for D, Right? Ok. And another trick to augmented chords there, just like diminished chords. Once you know one diminished chord and it's versions, then you pretty much know almost half of all the variations, almost all half of the courts you supposed to know show C diminished and me and as C, excuse me, as C augmented. Okay? Is the same as in the augmented and it's the same as a flat. Or the men see by knowing C a minute. Now you know three augmented like that. You take an E-flat or the magnet, is the same as the g augmented. It's the same as a b augmented. All right? You take an F augmented. It's the same as an AI augmented. Same as C sharp. Minute. So go through all of this. You know, I'm trying to get you into the mindset of practice in all 12 keys with everything you know, that's gonna make you a very, very good musician, a very good pianist, very good key borders. Who knows the auto of keys? Okay? And as you go through all of this, you begin to see how it all looks like in different keys to different shapes that it takes. You notice certain interesting pardons in the, on the keyboard. So make it a habit of going through all 12 keys. What we are doing at this point is we're building the foundation. We're going to start using this to play music in. The more you can play all of these in all 12 keys, the better it's going to be easier for you. We're not just land in this for land and sake, but we want to be able to build the foundation so that later in the course when we actually stat plane music, playing songs and analyzing them, you have the foundation, the background, it's very, very important. Don skip that. Alright, so go through that and our See you in the next lecture. 11. 10 Suspended Chords: Hello friends. In this lecture we're looking at Spend it courts. Now suspended chords have very interesting courts. So let's say you take a C chord like that. And when you play this chord, okay, the core. Yes, in a stable position, a bi-stable. What I mean is you can play this chord over and over and over and over again, EDO JSB there. And it wouldn't feel like it needs to go anywhere. That's what I mean by stable. But there are times that you don't want to do that. So there may be times that instead of the root, the third, and the fifth. Okay? You may decide to do away with the third and replace it with the second. Now you've got this for sound, okay? This modern sound is very stark. It's bright. Okay, so like that. Okay, so when you play that, we say that you have played as C suspended too, is suspended because the sound doesn't feel like it's settled or it's in a stable position. Okay. And you hear this okay. At once to resolve some way, it wants to go back to either the third or eight, go back to the wired, so like that. So there are times said when we play this chord, we resolve it. So and there are times when we play it, we don't resolve it, we just gonna leave it there. You wanna go f like that. Okay, so that's your C suspended to add recommend going through all 12 keys, you know. And all I'm doing, my left hand is adages. And for size and the fifth. Back to the fact that you can run through all 12 keys with that. Okay, there is also another suspended chord, which is called the C suspended fourth. Ok? Now the formula is very simple. It's just your room. Your fourth, fifth. You get this sound. This court are so wants to resolve back to the root chord. So we played this spec to see. Okay, so that's the C suspended fourth. Now the interesting thing about the suspended chords is this. When you start getting into the inversions, a gets really excited and you get to really open up the sound and make it more interesting if we go back to the C suspended to like this one. All right, if we decide to move this note and put it on top here, now all of a sudden we've got a chord that is based on forths. Okay, so from here to here, that's a perfect four. And then from here to here that's another perfect for, so you've got this open sound. Now notice all I'm doing is I'm changing the left-hand node. So I'm going from C, go to have while maintaining the same chord here. Okay? So next time you have to play a C chord, just do a C2 suspended, or C suspended to this or that, or that. Now to entrusting. Another interesting thing about the suspended chords is that they're sort of inversely related. What I mean by that is if you take a C suspended to chord, right? You ran through it and versions, you're going to realize that C suspended to the node, the C suspended to C and G. You're going to realize that that seems suspended to the nodes can be found in G suspended fourth, like that. Alright? So it's almost like C suspended to hear and see is the same as g suspended for. So the root and the fifth. I. Take for example, F suspended too, right? What are the notes in it? So you've got F and C. Alright? So T, c and f. Right? Now we've got a C suspended for. Right? So it's an interesting court. I recommend you play with it, go through it. All 12 keys. Okay, see suspended for yeah, a lot of songs that use this chord. Alright, so go through all of that and I will see you in the next lecture. 12. 11 Dominant 7th: Hello friends, welcome back. In this lecture, we look in at seventh chords. And specifically we are going to be looking at dominant seventh chords. Now if you remember from lecture on the scale degree, remember we said that the fifth was called the dominant. Okay, we went through the whole scale where the root or the first node is called the tonic. And then he had the supertonic. You have the median, and then you have the SOP dominant, and then you have to dominant, so forth and so on. So the fifth is to dominant. So by dominant chords or dominant seventh, we're basically talking about chord that's based on the dominant seventh based on that. And normally when we play that, we played that on the fifth chord and then in move says back to one or back home. So let me give you an example. Let's look at the sea seventh chord and you, this is how it's normally written. You see a C and then a seventh. So that tells us that it's a dominant chord. So a C7 chord has the following. So you have, you see, you have your e, your third, fifth, and then you have your seventh, your flat seven. Remember this is not your major seven, it's your flat seven like that. Okay, so you have a third, a major third, and a minor third. So normally when we played this corn land dominant seven, remember, we want to go back to one. So if we're playing a C seventh, then where's the one? Remember this is the dominant seventh, okay, there's the dominant. Dominant is the fit. So which key has C as its dominant? 12345, and there would be F. F has C as its dominant. So when we play a C7 chord that we need to go to, it's an F. So every time you want to go to an F and you would see play that dominant, and it will take you there. So it's a dominant seven that sets up a journey back home, right? Like that. And again, you can ran through all 12 keys. So D seventh would be like this. And where we go in, where you go into g. Because D is the dominant of G. And again, they inversion supply here too. So if you were to take a C7 chord, okay? You get this square, right? And then he also got this right saying, OK, now later on we're going to land, especially when we get to the section on voice. And you're going to realize that it's not all the time that you need to play all the notes in the chord in, because obviously you've got only five fingers and where we are, It's got animals in it. So the more the nodes and the chord, the more challenge and it's going to be to play it or together accurately in also dependent on whether you have long or short fingers, that can be a challenge. So that's a dominant chord, C, dominant 77, F, dominant seven, G and so forth. Now you hear a lot of dominant seven and say hams and a lot of Christian music. And you also hear a lot of those jazz and blues, okay, if you know anything about the two blues, Who are they doing? Right? It could be much more complex than that, but I'm just basically doing the bare bones so that, so you get the ideas are all they are doing. And the 12-bar blues, as they're going to C7 thing. They stay there for two measures and then they go to F7 or like this. Or and then they come back to C7. And then later on they go to the G seventh. So it's one of the most important chords to know, the dominant seventh. Ok, so try to go through all 12 keys. I can't stress that enough. It's very, very important. It's essential to becoming more proficient on the keyboard. You land something in one key. You take it to another key and see how it works. And D flat, you don't want to be put on the spot. Had a poorer, you know, you only know the song and see, and then they wanted to do it and D flat and you cannot play because you haven't really taken the time to go through the courts. So make it a habit of always practice in everything you know, in all 12 keys and Edward, do you a lot of good. Alright, so that's dominant seven. I hope it makes sense. I'll see you in the next lecture. 13. 12 Minor 7th: Hello friends. In this lecture we are going to be looking at an a minor seventh chord. Okay, so if you remember, this is C minor, right? You have your root, your minor third, and then your fifth. Ok, so if we want to add seven to it, remember the minus seven that we're talking about as a minor seventh. So it's not a major seven, It's a flattened seventh. So this is how you form it. And your third, okay? And then your fifth, this is c minor, and then the minor seventh is this. So now what you have is you have a minor third, you have a major third, and then you have another minor third. Like that. You can take it through or two off keys like that. That's a D minor seven chord. That's a G minor seven chord. That's an F minus. That's a G minor seven. That's an a minor seven, that's a B minor seven. And we're back to see if you wanted to do the black key. Same thing here. Gaye, you've got your C minor, C-sharp minor or D flat minor, then this is your seventh. That if we want to do E-flat minor seven like that. And then F sharp minor seven, a flat minor seven. B flat minor seven. And then we're back to wherever we started. Okay? Now, later on we're going to, as I pointed out earlier, we are going to be looking at how we can voice these courts to make them sound more interesting. But at this point, what I'm trying to get you to do is to learn how to play all these chords in every, in all of the 12th keys. It's very important. And so once you master all of that and we get to the voice and section, you're going to learn interesting ways to make these sound really, really great. Trust me, we're going somewhere with data. You not just land in, okay, this is a minor chord and that's it. We are going to be used at it. Ok? So hang in there. Key practice in it is very important and I cannot stress that enough, right? That's your C minor seven. D minor seven. Keep going through it. It's very, very important. All right. I'll see you in the next lecture. 14. 13 Major 7th: Hello friends, welcome back. In this lecture we are looking at major seventh chords. So if you remember from interval's, okay, when we went through the distance between the nodes and the scale. So for example, we'll see if you've got a C scale, write C as the root. The distance between C and B is a major seven, F major seven, right? 12345. Okay. Remember when we did the minor seventh, a was, the seven was flattened, so was like that. But major seventh, so C Major seven chord would simply be your C And then the be added. So it sounds like this. Say, I wanna take it to B-flat Major seventh. D major seven. E flat major seven. E major seven. F major seven, F sharp major. So G major seven. B flat major seven. A major seven. B flat major seven. B major seventh. Like that. Okay, so ran through all 12 keys. Again, you're going to hear me say that. A lot of time, this is very important if you can move through all courts in different shapes and sizes and every key, then that's going to help you a lot. So remember lecture on invert, since this also applies to if you take a C Major seven chord, okay? Yeah, how many nodes do we have in here? We have four nodes and three. Ok. So the more notes you have an accord, the Moyne versions you're going to have to. So in this case we have three more inversions in addition to the room. Like this is a root position. Ok? If we decide to move this and put it here, and we get something like that. Same court. Another inversion. And then the last one would be DES. You can take it to d, do the same thing. Next one. And then this one. I tend to like this inversion, this second inversion. Why? Because of the clash between the seventh and then eighth, it creates an interesting dynamic here. Normally you don't like or sound like that because it's sort of dissonant. It's not in tune. Like few where to play this and that. Okay. That's in tune. But if you were to do something like this, ok, that's a classy guy. But if we play it together, or even if we do this. So let's say I'm playing something like so same D major seven. And I'm just move in the notes around. Tension here creates an interesting dynamic like that. Okay, so what I want you to do is go through all 12 keys and practice it in. We're gradually getting to a point where we're going to put all of these chords that we learned in a, into a song. And it's going to be fantastic way. We're going to be able to apply all things that we've learned. So hang in there. But what through all of them. I promise you, you not gonna regret it. And I'll see you in the next lecture. 15. 14 Diminish 7th: Hello friends. In this lecture we are looking at diminished seventh chords. Remember in the previous lecture, we looked at diminished chords. In real life though most of the times you're going to hear diminished seventh chord than just a diminished chord. So what's a diminished seventh chord? It's basically a diminished triad with an added minor third interval. Okay, so if you remember, we said a diminished chord, if we're building it off or let's say C, It's this, right? So your third, you're 1, third, minor third. And from here to here. So now the minor third psych there. But in real life you don't hear this. What you hear is a diminished seventh. Okay? Now how do we get there? So a diminished chord with minor third, minor third from here would be 123. Okay, so now instead of this, we have this. So most of the time the diminished chords you hear in music, songs, they're mostly diminished seven. Okay? So you may see something in written music. You may see something like a sea dim seven like CDI M7, or sometimes you'd see it in another form like a C and then you have a little circle and then a seven. Okay? So most of the time this diminished chord is also referred to as a fully diminished chord. Why are we use in fully? Because there's also another kind of diminish that's not considered for better half diminish. Okay. We'll get that. We'll get to that in a second here. But this is your C diminish. And an exercise I like to do as with both hands and left-hand and right-hand. I like to go through all 12 keys chromatically. What do I mean by that? I'm going through half-steps like that. So would do something like this. And then I'll go up to going. That gets me use to the various shapes in different keys. And I can even go back Westerners scale. Alright? So I suggest you try going through all 12 keys with the diminished seventh chord. Now let's look at the half-diminished chord. The half-diminished chord is also known as the lack the minor seven flat five. Ok. Now don't let that scare you away anything. Just as the name says, a minus seventh with the flat five. Okay? So if you take, for example, a C, Alright, so Festival, let's get a C minor. C minor is played like this, alright? Alright, root third, fifth. Okay, how about we add the seven minus seven, which is this one. So now we have this, this is c minus seven. And then it says to flatten the five, which one is the fifth is this one. So if we flatten it, we lower it by a half step, so it puts it here. And so now we have this. So we have our food diminished seventh, like this. And then I have diminished. Or get to some of the applications how you can use that later in the course. But so you're diminish. Diminished seventh, fully diminished seventh. Half diminish, ran through the 12 keys. Take for example, D minor seventh, flatten the five. Ok. Go through the same. Ok, all 12 keys. I go through all of it. You're going to notice some interesting patterns and hopefully you'll walk in through all the 12 keys. As I always say, you're going to reap the benefits. So I'll see you in the next lecture. 16. 15 Diatonic Chords: Hello friends, welcome back. In this lecture, we are looking at building chords based on the scale degree k. And you may hear diatonic chords and probably don't know what it is. So if you remember when we would go into the scale, okay. For example, the C-scale, we've got 1234567. All right, now we can build a chord based on each node in the scale like that. So your C would be your one chord, right? Okay, and then we can go to D and so forth, right? But what do we mean when we say diatonic? Diatonic basically means exclusive to the key. So we're building chords based on all the nodes and the scale. We're not going to be used in any outside note pad from the eight notes in the scale. Alright? So we can use a black node. Remember it's C has all white nodes. So we cannot use anything outside of the white nodes. So how would that go? What would it look like as your one court when we go to D, right? Normally we would play a D chord lack this D-Major like that. But then that introduces this black node, that if we're going diatonic, then this would be wrong. So in the key of C, When we play our d second chord and scale, it's a D minor, like that. Okay? Your third chord is going to be similar as going to be. And then you have four would be F, right? Then your fifth would be g, your sex would be a minor. Seventh would be a B diminished like that. Ok, so 1234567. Now why is this important? Sometimes you may be playing in a band and you don't have the sheet music, right? Sometimes you don't even have the court chat and says, okay, well, I'm going to teach you this song. It's very simple, you know, and please get used to this. A lot of the times if you're judged musician, you get put in a situation where you may not always get the music ahead of time to really go through it and rehearse and all of that. But likely in, let's say, one of them, whoever singing knows music and they say, Oh, it's a very simple song. It goes from one, then it goes to three. Goes to two, goes to four. Okay? So when they say something like that, you should be able to understand that and know what they're talking about. So that OK, one, then it goes goes to two, goes to four. And once you understand this, you can work through any song because now you know the numbers. We don't have to say the specific key once you know that. Okay. Yeah, we AND Okay. So well, indeed, then you've got your two as your E minor, you are trainers, you have sharp minor force UG, and so forth and so on. So it's very important that you understand this way of communication to some may even decide to deal in sulfate and say, okay, it's a dough and then me and then array. And then, okay, you must be able to understand all of that and interpret them correctly so you can play. Now if you look at the chords, are diatonic, diatonic chords in the scale of C or any key for that matter, you're gonna realize some interesting things here. You're going to understand your two and you will always be minus, okay? Also your six, your sex will be a minus. So your to your third r minus one. And you're always going to be majors and obviously your seventh would be a diminished. So keep that in mind. Your 145 are majors, your 236 are minus. Now there may be times that you may also see this written in Roman numerals. You don't tend to see a lot of that and you know, real live music. But if you are sitting in, say, a harmony class in a music school OR Academy, you would see things like that where you're one was your uppercase Roman numeral for one in, into Whitman. And three would be lowercase, 45 would be uppercase, and then 67 would be lowercase. Roman numerals for 67 as well. So keep that in mind. It's very important. You need to understand all of this and see how it works. Alright, so go through all 12 keys. Take the key of E, right? Second coordinate, that is F sharp, G sharp minor, forward. 17. 16 Diatonic 7th : Hello friends, welcome back. In this lecture we're going to be building on the diatonic chords that we looked at in the previous lecture. So we want to look at diatonic seventh chords. So let's start from the key of C. So if we're building diatonic chords, that again means that we use in seventh chords, seventh chords that exclusive only two the nodes in this scale. So if we take c, k, what seventh chord can we play? We cannot play the dominant seven like that. That's a minor. We cannot play that. Why? Because we introduce in a black node and here, that is not part of the C-scale. So in this case, the diatonic seventh chord for the first call would be a C Major seven, like that. Okay? The next chord would be white, a D minor, and then a seven, B minor seven. And next chord would be an E minor seven. Like that. The next chord on the four would be an F Major seven. All right? The next chord, which is the G, would be a G seven. Alright? A G dominant seven, if you remember that. And then the next chord would be an a minus seven, like that. Okay, that's your sex. And then your seventh would be your half-diminished, your B half diminished, or B minor seven flat five member. B minor seven flat five. So it will be there. And then we get back to C major seven. So it will be something like die. I'm sure you're familiar with that sound. Alright, so work through or two off keys again, go to d. Ok, take it through or two off keys and pay attention to all the chords in the notes. Which one is the third? Which one is the fourth? Which one is the fifth? And try to see if you can memorize the sound. Okay, let's say you take the key of F. When you hear this, you know, OK. That's F Major seven. Alright? That's the one major seven. Okay, how about if I played something like this? Okay, you know, that's the three major seven or the major seven. How about there's four major seven. Okay, so you want to practice this, considered this as some sort of an ear training where you are listening to courts and knowing, okay, if I played this one, if I played this, that's 45, played this, that's six by play this. If I play this five. Because this is very, very important and you're going to find that out very soon as we start digging into songs and breaking it down and what's going on in the song. So try to work through all of this tape or two off keys again. And everything you practice and on your right hand, try to replicate that on your left hand to okay, it's very important. It's good to get your left-hand plane cords get used to had a play courts. Although in real life situation is not all the time that your left hand is playing courts sometimes is just doing the root note and maybe a fit on top of that. But there may be situations where you're going to have to do courts on your left hand and then you'll right-hand supplies the malady and other things that you may want to do. So it's important land to play chords and both hands, and it'll save you well. Alright, I'll see you in the next lecture. 18. 17 Building Chords Based on Minor Scale: Hello friends, welcome back. In this lecture, we are going to be built in courts based on the minor scale. Now, you may have noticed that in the previous lectures we were building chord spaced on the major scale. We can do the same thing for minor scales too. Why is this important? Well, number one, not all songs at written in major keys, there are songs that are and minor. Or maybe you wanna compose or write your own song in a minor key. So let's say you and see whatever you want to do, right? You need to be able to understand the scale would add the chords in it. What note should I play? For example, why did I do a g here? Okay, so that's what we're looking at it. Let's start with the C minor chord. Okay, so in the minor chord, if you remember, or the minor scale is just like the major scale, but you have your flattened there. You have the A-flat six, your flat seven. So based off of that, your first chord in C would be this a, C my, alright. And then what about your two chord to chord would be a, D diminish like this. So 12. Alright. Now, keep in mind that this is still part of the diatonic chords that we talked about. So we are using only nodes and the scale of C minor, Alright? So one chord is C minor, two chord is the D diminish. Your three chord is going to be E-Flat, so it's a major. Alright? Your four chord is going to be F minor, right? Your five chord is going to be G minor. And then your six chord is going to be a flat. Seventh is going to be a B flat. And then we're back to C minor. Alright, so remember that K. Now from this we can see that the third, the six, and the seven Dow major chords, okay? A flat, B flat, right? And then your one menu or for any of five minus. So it's almost like the opposite of the major when we build courts off of the major scale. So keep that in mind. And try to take this to the 12 keys again, you can start with a D minor, can stat with the db. And then your next chord is going to be E. Diminish. Your ness chord is going to be major f, Okay? Yeah, next court is going to be G. Score, it is going to be a. And then your six is going to be a major. Seven is going to be a major. Then you go back to your right to go through all of that and let me know if you have any questions, post them in OWL and sew them. Now see you in the next lecture. 19. 18 Arpeggios: Hello friends. Welcome back. In this lecture we are going to be looking at our pages. So arpeggios, basically, when you break, it literally means to break. Ok? So typically when you have a chord, let's say a C chord, you just play it together like that. And the case of an Apache, or what you're doing is you're breaking up the nodes and the courts. So and so plane or the nodes at once you're playing at one after the other. So it's more like OK. So that's an approach you now a lot of the times while you can play that on the right hand at solves. So used to great effect on the left-hand. Alright, so would do something like on your left hand, you would do your room. And then you're rude again. So a, it sounds something like this. Now you can even add more nodes in the scale to it. And notice that as I was doing, added a D note to it. Okay? And this is really, really important. Cause you can play, let's say your plane all by yourself. Okay? You are now a lot of a times PR players, I'm not gonna do courts on the left hand like this. That wouldn't make any sense. So it would be the I'd be doing up her juice on the left hand. So let's just make up something here and play. Let's say I wanted to do something here. So I'm a company and myself and think of it this way. So the left-hand at that point becomes the rhythm section or the accompaniment, and then the right-hand becomes the solo instrument. Ok, so the left hand as providing the context for the right hand. And this is very important piano players, if an extend this instead of doing the root and the root again, sometimes they extend the range and they do what is called a tenth, which is really extend into scales are 12345678910. Okay? They would do something like ten. Okay? And I tend to use data a lot because the gifts it a really, really great sound and all of a sudden the right-hand is free to do whatever it wants to do because you are providing bass note here, which is given as the tonality of the music. And then you provide in some has_many here with the Fed and the tenth. Okay? So I'll cite this. This is just something I made a but you get the point. You know, the left-hand is providing the accompaniment. And then if freestyle right hand to do whatever it needs to do. So you could play the melody or you could even do what I call third spike. You start, let's say this is the C chord and set of Staten here, stat on the therapy. So I've played the third and the room in this manner, so all right, so all I was doing was I tick a C chord. I only played a third fifth, right? So, and then I take a G chord. Okay, I'm playing the second inversion of a G or its stats on the d, k. So an F and a D here. And I went to the D minor. And then I repeated the same thing over a G chord on a base like that. So these are some of the uses of arpeggios that you can employ in your plane and to spice things up a little bit instead of doing just courts, right? That's good. But there may be times that you will want to play some juice to bring some movement and also do some interesting things with it. Alright, I hope it makes sense, right? And I will see you in the next lecture. 20. 19 Chord Progression: Hello friends, welcome back. In this lecture we are going to be looking at chord progression. So chord progression as simply the movement or the succession of the courts. They basically serve as the foundation of harmony in the song. They established a tonality or what's also known as the key of the song. All right, so it's simply a movement of the courts. So for example, let's say we go to the key of C And then I stat, by doing this, I play a C chord. And then I go to a G. Right? Then maybe I go to a D minor, and I go to an a minor chord. And then we go back to the C chord. C is the home key. All right, it's the key that no matter what happens in the song, the song always keeps coming back to the home key, which is to see in this case, alright, so what's the progression here? It's just doing C and then go into g, All right? And then go into D, Maya and I go into a minor and then back to see in terms of numbers. It's going to, it's starting from the one, the root, and then go into the fifth and then they go into the second. It goes to the six and then back to one. Ok, so that's simply what a chord progression is, is just the movement of the chords, okay? There's also something called the harmonic rhythm, which is simply the rate at which the chords change. Okay? Like as a change in every measure is the change in every two measures example the same tune that we played, okay, 12343423434234. So in this case, you realize that as change in every measure, every four count, the chords change, right? So in the nutshell, chord progression is just the movement order succession of the courts. Now, we've been learning all of these chords for recent. This is the point where we began to put all the courts we've learned together and start making some great music. All right, so we're going to be looking at songs, well-known songs that's used in contemporary Christian music, the praise and worship. And then analyze the chords and the songs and then begin to play these chords we've learned over the period of this course. So I will see you in the next lecture. 21. 20 We Fall Down: Hello friends. Welcome back. In this lecture we are going to be analyses in a real song. We've learned all these courts over the period of this course. And now is the time to really put some of them together and go through it and see how they work in real life. So I pick the simple song here by Chris Tomlin is called, we fall down. It's very simple song. It's a beautiful song. So let's look at a few things here, right? So it's in the key of E right here. Alright? And then we've got the verse. So since it's in the key of e, we stayed in an e, right? And then where does it go? A goes to B. Okay? What's b in relation to E? This is E. And then it goes to B. What is B? B is 12345, so b is the fifth of E, So a stats from E. And then it goes to b. Then from b, where does it go to? Goes to C sharp minor seventh. Alright, C sharp minor. And then we add seven, which is this. So now it's this, right? So is that, alright, so then they go to B, right? So what is C-sharp minus seven in relation to E? It's the six of e, 123456. Ok, so the six minus seven. So we could say Afghanistan is that's on one. Then it goes to five and then it goes to the six minus seven. Then from where, from there, where does it go? It goes to a. A is the fourth of E, goes to F sharp minor. What is F sharp minor? Right here? Right? That's the second of E. That's the second of E. So now we've got one from the top and it goes to five. And then it goes to six minus seven. And then it goes to five, I mean, sorry, goes to four, which is a and then it goes to the two. Okay? Now notice that I'm using my inversions because not all the time that you're going to be jumping around. Keyboard player. So pianos don't even play like that. We try to play moved from the next chord. From one chord to the next chord very smoothly, right? And so let's continue and they repeat it again. And this section they go to E, then they go to B, and then C sharp minor seventh again, so 15 and then six minus seven. And then they come to a here, and then they go to B. So a second again. So, and then they go to B, C-sharp minor seven. So we fall out. And the fee of cheese is not much of a singer, but for demonstration purposes, I guess this would do. Alright, and then they repeat again the gray merge at the phi of t. Now let's go to the chorus in the quarters, they do something interesting here. I want to, you see a chord like this, a slash score. That's what is called. So the top part, which is the E, that's for your right hand. And then the bottom one, the G-sharp, that's for your left hand. So if you were to play this chord, you would play it like this. Remember the top, No, the top letter, that E is for your right hand and then the bottom is for your left hand. So we would play it like this. Like this. All right, so it's our one chord is the same E chord, but they don't want to do this. When you hear it sort of gives a sense of being settled. It's at home, it can stay there, doesn't have to go anywhere. But once you play that third here, ok, it gives you an indication that it's getting ready to move. So the F0 of t I, we crash. And then it goes to the a major seven, home. Then they repeat it, a o. Then they do something here, C sharp minor seven. We Ho is. Alright. Now notice something he had to, we've got another slash chord here, e against a, B. E on your left hand and then on your right hand amps are and then be on your left hand. So it goes like this. And then under that, okay, they are doing a B7. This is a dominant seven. This is not a minus seven. This is a dominant seven. Remember from my dominant seven lecture, okay, so is this one. So, so stats from alright, and then Naidu and a against and then guess what? They do. A D2 suspended, sometimes UNC to suspend that you only see a two, which is this, right? Okay, so basically this song, it's a simple song at the core as they do on one on the right hand and then three on the left-hand. That gives you a sense of movement. They are getting ready to move. And then they go to the four major seven, which is the a. And then the major seven. And then they come back again. And then they do the two, which is the F minor bike that they do it again. And they do it again against G-sharp. And then F-sharp minor. Nan De walk from C sharp minor seven, b to a Major seven to E agains G sharp and to F sharp. And then they do an E against a, B, a B seventh. And back home to E. And then they do an a again, back to E. And they do that d2 sauce which is dead. And then it says back to verse. So I hope this kind of gives you an idea of how chord progressions work. Right? Now. See if you can work through this, right? This is very, very simple. In fact, you can go to YouTube and type in, we fall down by Chris Tomlin. You will find it. Go listen to it. 22. 21 How to Find the Chord Progression I: Hey friends, welcome back. In this lecture, we are going to be looking at how to find a chord progressions of a song. All right, so let's say you're listening to a song, you learn a song and you want to find out what, what courts say a plane in the song, you know, that can be very intimidating in the beginning, but once you understand how to go about it, it can seem pretty easy. Alright? So I want to take you through that process. Let's say a song is playing one of the things we want to find out first, I guess the first thing we want to look at as, what key are they played the song again. Okay, what's the home key? J? Not every song would start on, say, the one chord. For any song, the one-quarter is sort of the home key. After I had a song goes through all kinds of changes, a comes back to that one chord, okay, so that's the key, right? So we want to find the key. Now, how do you find the key? Well, unless you've sort of developed your ears. Oh, I've done a lot of year training to know, okay. How to reference a certain note or sudden key and find into key, it's going to be, you're going to have to find it, you know, through the keyboard, just the song plane and then going through it. All right, so that's that, but, well, we'll go through that. I'll give you a sample song he and a bit so you would know what I'm talking about when it comes to f to find into key. Another thing we want to do is we want to know the progressions. You know, what are they playing at all? What courts are the plan, okay? And one of the easiest way to do this is to listen to the bass player, okay? Because bass players tend to play the root notes, okay, they give us sort of the foundation of the music. They established a tonality. And so listening to the bass player is the easiest way to find out what courts they are playing, what the progression. So okay, you could say, well, why don't I listen to the piano? Well, the piano, it's not always easy to figure out, you know, especially if you don't have, haven't develop your ears for that point where you can hear notes and pick them out easily. So I'd say start with the base though. So let's say we playing a song and we know, say we know the bass players playing a d, right? Okay, so we know k hats. And the key is in D, So we know, okay, it's indeed, that's the root node, that's the home key, right? And then the next time the bass player goes somewhere like maybe a. Ok. Now we know k. He's playing an a, what is a, and the key of D, that's the fifth. And then maybe he goes to see, was C In the key of D, that's the seven. Alright, and then maybe they come back to a g. What's g in the key of D? That's the fourth. Alright, so now we know the bass player is doing. And then it goes to a, goes to C. Ok, so we get that. But that's just the skeleton, you know. Okay. We know he's going to d and then he's going to a and then go into C and then g. Okay? But that's not the whole picture. Okay? But this is just the foundations, I would say, okay, note them down. Now you know what the bass player is doing. Now to get to the courts that the keyboard is actually, or the pianos is actually playing. Now we need to determine the chords, okay? So if it's a D, like this, okay? Listen to the courts say plane. Okay. Is it a D-major or D minor? And how do you differentiate between that as the third? Okay, if, if it's a D chord like this. Now we know at some minor because, but if instead, we know, okay, it's a D major. So this step is where you determine the quality of the chord, okay, by quality, I mean OK, what type of chord is a major chord? Is a minor chord. Does it have any seventh so diminish or dominant seventh in it? Ok, so we know this is a D And then he went on a. So we could play, Okay, yeah, let's play a chord. Alright. Again, we determine, okay, is zeta and a as in a major or a minor. Ok. So as you listen to the music, you're going to find out that, okay, maybe it's an, a Major because the third is not flatten, so it's only major. There may be cases where the a may not be a major, maybe a minus. So it would be something like this. Right? So we're in D. And then we go to a, right? That's an a minor. Alright. And then we went to see. What kind of C Is it C major or was it see my. Now some of the things as you play along, you could probably easily predict because a wooden make any sense for them to say do. And then they go to an AMI and then they do a C minor. Wouldnt make sense for them to do that. Not that it cannot be done, it can be done, but it's just that in the grand scheme of things, you know, that's not how we know, you know, the progression. Sort of go. So OK. They went to okay. Now this is where you also determine, okay, what kind of a minor is it is suggested in a mayan i old A-Minor Or maybe they've got a seventh in it. Okay. If they've got a seventh and then you're going to hear that G. Alright? And then they went to a C, determined that, okay, it's a C Major. Does it have maybe a major seventh in it? Or is it a dominant seven? Or is it event suspended two or so, stuff like that. That's how you find out the cords that are going on in the song, okay, and once you've got this down, and next thing you wanna do is look at the inversions. Ok, they may be playing D equal. All right, but which one is it? Is it D in root position or D in a first inversion? Second inversion. So all the courts pretty much you look at it, you listen and then you figure out, okay, which note is the lowest note. Okay? If you've got, say as C is the lowest note, as the keyboard is, explain it. Then you know that, well, yeah, they have voice in the sea and the root position. If the lowest note as the US and the first and the lowest note this in a fit. Then you know, as the second inversion. So first of all, find a key that the music is being played in. And then find, listen to what the bass players playing the notes so you can pick out and leaves, you know, okay, he's going from D to a, C to G. And then once you're done with that, and then you determine the quality of the courts. Is it a major? Is a minor. After that? Also determine okay. Any seven so spended or any extra notes, is it a major seventh, stuff like that? And then you would move on to the inversion. If you do that, you're going to sound just like what you hear on the record because now you've taken your time one to determine the key, the progressions, and the type of chord stay a plane any seven, so majors in it. Okay? So I hope this is helpful. In the next lecture, we're actually going to do this practically. I'm gonna play a song and then you sort of go through it and then you determine, okay, what I'm doing in that. Okay, so see you in the next lecture. 23. How to find the Chord Progression II: Hello friends, welcome back. In this lecture we are going to look at how to find a chord progression of the song. So another, to find a chord progression of the song, there are a number of things we need to do. One is we need a find the key that the song is being played in. Now if you're playing in a band where they have the court chats, then you don't have a problem here, they would tell you, okay, the song is an e. But if you end up in a situation where they don't have core chat and you have to, you know, play it by year, then you're gonna have to figure out what key it they're playing a song in. Basically that key is the home key, the key that doesn't matter where the song goes, comes back to that key. When it's at that key, the song feels like it's at rest. So that's the key. And you may have to start in a sort of going through the nodes to find it. But they are people with even perfect pitch that they can hear note entail you, okay, that's an a. Okay. Not many people have then, but you don't even want to bother with that. What you really want to develop is relative pitch. So that let's say, you know, a song is playing in your car and say it's in the key of a, okay? And then you go somewhere and then you hear some other song. Maybe it's in a different key, but let's see. That way you'll be able to compare the two sounds and say, wait a minute, that song was an a and what is playing now sounds like the fifth of what I'm hearing. Okay. What was in my car. So by doing that, the reaction you come to realize, okay, well, that's probably e then because e is the fifth of a, okay? Something like that. All right, and the next thing you need to know in order to land a progression of a song is you're going to have to listen to the bass player. Bass players tend to play the root node. Ok, so if it's a di, a bass player will give you a D. If it's a gene that would normally give you a G. And not to say that they are in times where they'd be doing some passing notes. But as a foundation instrument that is part of the rhythm section, they are always going to be laying the root notes for you. So you want to listen to the root nodes, the base, okay? Is he doing this like that? Okay, whatever he's doing. Note them down. Once you've got that, then look at the quality of the courts that bass players. Playing, Okay, so let's say the ND, okay? Now is it a D major chord or is it a D minor chord? Okay. You have to get that. Once you determine that, then you know, okay, well, that's a D major chord we're dealing with major here, okay? And then I also pay attention to any other extra nodes that are in. There may be a seventh. Is it a dominant seventh? Is that a Major seven? Or do we even have like spend it too, was suspended for like that. So pay attention to that. Once you get that, then the next thing is lesson into what inversions being used. Okay, so I've got a D. Yeah, it's a D. But if you want to sound exactly like those of your favorite artists that you listen to and how they play. Okay, you're gonna have to dig a little bit deeper and find out what inversions or they use. They using this d, or are they using this d or this. Okay. So is that their position? Is that the first inversion or is it the second inversion? Okay, and from the previous lectures we've dan, if the root node is the lowest note of the chord, then it's in a reposition, okay? If that third as the lowest note and the court, then it's in first inversion. If the Fed is the lowest note, then you have the second inversion. Okay? So having ran through this, what I'm gonna do here is I'm going to play you a song. It's actually this famous song, Revelation Song. And we're gonna try to apply all these principles that I talked about here. Determine the key and note the base nodes, and then determine the quality of the courts and what inversions we're using. Hopefully this will make sense. Alright, let's get started here. So I'm just going to play a little bit of it, it basically that song and repeats it over and over and over again. So we don't need to go through all of it, but I'm just gonna play it for you. So basically that's the whole progression of the song. So this song is plan, okay, lets say we want to find the key. We don't know what key it said. So it's a plane and I'm just going to touch the keyboard. Okay, so the first note I attached with this E, alright? And the song cited here. Then this is the note that I happen to hit. So keeping the sound of the song. Okay, the D in my head and I hit yeah, no, ok, that's the seventh. Not not the seven. Excuse me. That's the second. The note that they play in the song and the key there playing the song in, Alright, let's say firewood hit any, maybe here, okay. It would be the same process, ok, because the song is here, but then the plane, the first node I hid was here. Okay? So I know, okay, yeah, that's the six what key has be asset sex as D. Okay? So you sort of walk your way backwards to find the key. Alright, so now we know the key is indeed OK. Let's continue and find out what the bass players doing. So bass players pretty much doing. So they're doing D. And then they go to a, and they go to see. And then they come to G. Okay? Pretty simple. They may throw in some pass and node psych they may do. Okay. That's not part of it. Better as just the pass in node to get today. And then I may do. Okay, the BS not thought of it as again, a pass and note to get to see. Alright, so now we know the base notes, okay? Now what do we do with them? Okay, so the first node or the first chord, we know as some type of a D chord. Okay? So listening to it, is it D-major or D mine? Okay, remember the difference between the major and the minor is the third, okay? And a Major third is a major third. And a minor is a minor third, basically. Alright, so listen into it. We know that, okay. It's a D-Major, right. It's not a minor like this. Now let's go to the second chord, which is the a. Ok? Now, this is a chord that is at the core data plane and the song probably know as listen to it again. If you listen carefully, you're going to hear that it's not discord. That has actually this chord, an, a minor chord. Okay? They may even have some extra notes added, like maybe the second. And then the next score they go to see. Okay, what kind of see is it? Is it a C major or C minor? We know it's a C. Go to g. I'll kind of, gee, is it a G major or G? But we know is so g. So that's how you determine the courts in the song, okay? That's how you determine it. Now you know it's D major and then they go to a manner. Okay. You could put in an a minor seven or you can even make it an AMI and that would still work. Okay. And then they go to see, right? You get to see C-Major. You could even make it a suspended to get to G, G major OR GET suspended. All right, now we've got that. Let's look at some of the inversions that are being used in this chord. Okay, so what kind of inversions are they plan. All right, let's try to see if we can get that swell rapidly. If you listened to the piano carefully, you know that the lowest node, ok, of the piano chord is starting from here. That's what I'm hearing. So right away it tells me it's a second inversion. Okay, they are not doing, they're not doing that they are doing. Right? So, so that's how you determine, OK, the notes in the chord, okay? You know that if this is the lowest node, then more than likely the airplane, the D and a second inverse. If this was the lowest, then it would be in a root position if this was the law as it would be the first inversion. So applying these principles and techniques, you should be able to determine the chord progression of any song. So what I want you to do is pick any song in stat going through and like, just like the way I went through this one and try to see if you can figure out what courts stay a plane and it all right, I hope all of this makes sense. Let me know. If you have any questions. Alright, I'll see you in the next lecture. 24. 23 Chord Progression Exercise: A friend, welcome back. So in the last lecture we looked at how you could find a progressions of a song by first listen and finding the key that the song is being played in. And then listening to the bass player to see would know, say plane. Then based on that, you build the courts off of that and you also determine the quality of the courts. Is that a minor, is it a major or major seventh or any of those extra nodes added to it. And then you also determine what kind of an inverse and sit in the first inversion, is that in root position or stuff like that. So we used Revelation Song for that. Now, you can pick any song and sort of walk through like this. So I recommend you as an exercise, you know, go to your favorite platform for listening to music. It could be YouTube, it could be Spotify, any of these digital I'm platforms and pick any song. Right now as you listen to the song, Try to find the key of the song. Just pick out the bass notes, right? And try to find the key on your keyboard. If you do this all the time, it'll help you a lot. Okay? Because you'd be building you use to be able to listen to things. I've been in situations where, you know, maybe I was going to rehearsal and for some reason I was running late in. I got there and they are ready. Plane the songs here already in the middle of her household and I just jump on the keyboard and start playing with them. Okay. And sometimes a surprise people they like to eat and have the z naught, the key that we're playing a song in. Well, you know, a lot of the times when I'm driving, I'm playing music and my car. And so if I note the key that the song and my car is in, a lot of times I can find the key that the plane, the music in, okay, because I just have to reference that key and my current so that song was in d. Okay, now I got here and yes, it sounds like what the plane, the key to a plane as song in as the six of what I was listening to and my car. Okay, well, alright. Well, that's a b. So I jumped on me and all the time is correct. Okay. But you're not going to be able to do that right away. You need to develop your music years, you know, do a lot of year training, listened to music, tried to see if you can determine what's going on. Alright, so once you've got the bass notes and everything determined the courts, once you get the courts determine would kind of chord it is sid a minor or major and then said Have any of the extra nodes and their seventh six whenever he determined that in then, also determine what inversions a using. Now, put all of them together and then play the song, enjoy it. Let me know what you find at be interested to know. Would interest in discoveries you make, okay, we learned from each other and remember that. Alright, I will see you in the next lecture. 25. 24 Chord Voicings: Hello friends, welcome back. In this lecture we are going to be talking about chord voicing, since this is one of my favorite subjects because it can literally transform your plane. If I were to give this lecture a different name, it would be from basic to brilliant. Maybe you've been playing for a while. You know, you've been sort of voice and all your chords in the root position like that. And now you've been introduced to inversion. So you started clan and virtuous, but you realize that you, your sound is not quite where you want it to be. At least it doesn't sound like the people that you listen to some of your favorite artists. And you're wondering why. Well, one of the reasons is chord voicings. Okay? Rarely do you see triads in real music. Okay, my trial, this. Okay, you don't see that in real music. Why? Because composes typically rearrange the order of the nodes. So not only are they use inversions and stuff like that, but sometimes they adopt Lin the nodes, sometimes a spread the notes across the staff or the range. Okay, so when it gets to this point, Courts become very important here. Let's say you have a C chord like this. You play it like that. Or maybe you play the first inversion of a second. That's alright. Okay, you could do that. But a lot of the times composers would not do that. They would divide the nodes between the two hands. All right, so let's say your left-hand would do something like a root. The root and the fifth for the C chord. Okay? And then you let your right hand, but do something like maybe the third and root on top here. So now you have, okay is different from the sound is there, but this is a more open sound. Okay? Or maybe they may even do something like this. Or there are times to where you may see something like this. On the left-hand, they would do the root and the third. And then they will maintain this or that. So that's one way of voice anymore cause now I gets really interesting. As soon as you step given into chords that have more nodes, more than three nodes. So let's say if you take a C major seven. Which is this C, E, G, and B. Ok? That's a C major seven. Okay? Now if you look at this chord carefully, get your C chord and then you add in a B to it. If you take out the C, All of a sudden you've got an E minor chord. And then you bring the c here, I. Okay? And from here you can start using UN versions as well. That guy. But you can also voice a differently. You can do a root and a fifth like this. Alright? And then you do the third and the seventh. Now all of a sudden it's not there. S right or right. Okay. Another way you can have invoice this esta stat taken out some of the nodes. Ok? We already have this, okay? So we've taken out the c and given it to the base, and taking out the g, and given a Database as well. So now we're left with just the third and the seven. Okay? Sometimes di, piano players may do something and to which I use it a lot. Okay, instead of doing it like this, again, I'll double the E an octave higher, like that. Okay, so now instead of then Sam Dupont as like that, see how it changes the sound. I am doubling the 0s. Okay, so let's try it with the arpeggios that I was talking about in the previous lecture. So let's say I'm doing this. A more interesting sound. So I could even voice or like that, where I double the b, like that. So now it's same coin. Okay, now it's this. Now it's this. Right? Or you can even take things further on left hand instead of doing your route the fair than your third. Okay. You could even do a root and assess. Ok. And now I can just double the third, the e. So now becomes this TE, entrusting sound. And I have an exercise that I do most of the time. Like if I want to run through all the chords in say, the C-scale di, tonically. I'd remember diatonic exclusive to the key, right? So I could do something like this. Bring it backwards, right? So the next time you have a C Major seventh, you know, don't just do it this way. Okay? Maybe you do it this way or maybe this way. More open sound. All right, so go through this, okay, take a different key, may be a D major seven, like this. D, F sharp, a, and C Sharp. Ok. All right, like that. Okay, so here I'm doing the seventh and then the third. Or I could decide a double, just the third. Alright, so I've got on my left hand, I'm doing this root and the seventh, and I'm doubling the thirds. Or so many ideas can come out of this. So play with IT. Guy, take any key and stat, rearranging the notes, double Some of it takes some of it out. Because for example, if you look at this D major seven chord, okay, that we've got, we've given the d to the left hand and the base. So we can decide to entirely omitted, omitted here, right? And now we've got an F sharp minor here. Okay? Now we know what it is. We can take out the fifth, which is the a, and now we're left with the third and the seventh. Now, this is important because the third, a lot of the times tells us whether it's a major or minor. Ok. This is D-Major. If I were to flatten that there would be a minor. Ok. So the third one is there, it's good and let us know whether we are dealing with a major or minor. And so we need a third. Okay, the Fed, not so much because we'll probably do it on the left hand. Or even if we're not doing that, it's not really missing anything. But we need to have the seven, okay? That's what tells us that it's a major seventh chord, right? All I'm doing is I'm doing 3 seventh and Nana, I'm bringing it down to see. Okay. Very simple. But yet interesting sound. Okay, so I want you to go through all the 12 keys, takes some time, dig in there and figure out how you would play it in say, D flat. Alright? So you've got your third, and then you've got your seven. You can double it. Can double the seventh. Ok. I hope all of this makes sense. Alright, I will see you in the next lecture. 26. 25 Voice Leading: Hello friends. In this lecture we are going to be talking about voice leading. In the previous lecture, we looked at chord voice and we're building on that same foundation. So we're looking at voice leading. What is voice leading? And it's simply the linear progression of individual melodic lines, voices all parts in the interaction with one another to create harmonies. Okay? Now this is very important. Okay? If all you're doing, when it comes to plane, you courts, it's, let's say you are in D, Okay? So you play your D chord and let's say the next chord is G and then play a G. The next scored a. He do that, right? If you keep doing that, he had music is going to sound very boring because the nodes are not flowing smoothly. Okay, you're just jumping around. Let's take the same. Okay, look at the root. And then the next chord is G. So the root as jumpin, basically a fourth and then fifth. Ike that normally you don't want to do that because that's not how piano players play or composes arrange music. Because while the things you don't realize is when you put all this together, if we had a choir and they were singing this core, ok. Somebody would be doing the lowest node, ok, would be dependent on whether you're doing a three-part or four-part harmony. Okay, somebody base would do this, or maybe the tenor, okay? And then you would have your alto, maybe do this, and then you're soprano. Okay? And so the human voice, if they were singing any, you know, you have a range. And so you don't want to make wide leaps. That doesn't make sense. Ok, or leaps that the human voice cannot do. Okay. We want to make the smallest movement as possible to the next chord so that it flows, right, so that we're not jumping around. Okay? So how would we do that? Let's say if we were in a K and then we wanted to go to g is much easier. Alright? Let's look at the nodes that are in the G chord, okay? And the G chord, you have a G, you have a G, right? You have a B and a D. So you are here and d, k, d is already in the G chord. So as just simply a matter of moving this a third half step here, and move in this a whole step here. And now we have a G chord, gave very smooth, very easy. We're not making any wide leaps, gay, right? And if we want to go to a, is just simply a matter of the D here, move into the E, and I make it a whole step movement. Desk making a whole step movement. Okay? And this Making Whole step movement here, okay? Alright. So we're voice in it very, very smoothly with voice leading. Okay? So, alright, okay. Or let's say if we were planted in the first inversion, same thing would apply. Alright? So we're here, we wanna go to g. That makes sense. That's very smooth. Okay? You want to go to a, It's just a matter of each of the nodes move in the whole step and we're there. Like that. Ok? Another inversion of d, Right? We wanna go to g, was the easiest way of planet. There's moves here, this stays here, and then this moves. We want to move everybody moves or half-staff, I'm sorry, a whole step and then we are here, and then we're back here. So as you play your courts, think about where you are in the next court that you go into. How easy is going to be to move to the next chord, okay? If you keep jumping around like that, it doesn't make the music flow smoothly. So think about voice leading your lead into the next scored most of the time one of the nodes would already be in the next quarter you wanna go to. Okay, so use that as a lead in, no, in voice your cords in that way, that way makes your music more interesting, like, OK, try it in the rest of their keys. And I'll see you in the next lecture. 27. 26 Chord Voicing sus2 & sus4: Hello friends. In this lecture we are continuing on cord voice in basics and building upon that. So we want to take a look at some of the chords that we've learned previously. And we want to look at the suspended too and the suspended fourth. So if you remember, we said the suspended two and c would be there's you have your first, your second, and your fifth spended because the sound is not at rest. When it's at rest, there's this better suspended because that wants to either go here, go there. And the same suspended chord if we flip it and put this on top here. Now all of a sudden we've got this quarter. Okay. Which is a more open sound and it's got, if you look at it carefully, you realize that as a chord that is voiced on based on fourth intervals. So 1234, like that, right? And then from here to here is 421234. So you have this open sound, which is really beautiful. He got the same sound here. Okay, so a lot of the times, if I'm going to be playing a C chord, and it probably wouldn't do this. Most of the time. I probably do something like this. The C suspended. Okay, so let's consider a simple progression from C. And then we go to F, right? So we're building on everything we learn in if you remember, the voice leading lecture, okay, we want to move from one chord to the next chord in a very smooth fashion. We don't want to interrupt anything. We don't wanna make any wide leaves. So let's say we in c we want to go into yeah. Okay. That's that with their C suspended to this, but I'm not going to voice it there. So I'm gonna do that first inversion, which is this. Right? Now I want to go to F DE S, just simply a matter of. Maybe doing this. F in F, I'm also due on a suspended to, okay. Right? So I'm here. Okay. So and go into the F2, alright, I have a number of choices. I could just here and then go to an F2 like this. But I don't wanna do that because I don't feel like it's a real smooth. Okay? Because I'm jumping from here to there, okay? I could do something like this instead. I wanna keep it. Okay, this is here, right? That's the C suspended to. So instead, I'm going to move this back to c. And then I'm going to have their f here. Okay? So now I have, and notice that I'm doubling the fifth, right? So, right. Another way I could do this, right? Would be, again, looking at the doubling of the nodes. I could decide to even double just the GI. Okay? So I've got my nav and see here, alright, and I only need the G. Okay, for it to sound suspended too far for me to be able to make that suspended to sound. Okay. So instead of doing all this, okay, I can decide to do this, right? I can decide to do just that or maybe even put in the c. So now I've got, now notice the beautiful thing about this is if I wanted to go back to the C suspended to write from here, it's just a matter of adding the d here. Okay. That's the beauty of voice and okay. Voice senior courts. So I'm standing here. Okay. See suspended too bad away notice C suspended two is the same as g suspended fourth, write z, c, and d. That's the suspended for 145. But it's the same notes as C suspended to see DAG, G, D, and C. So I can even decide to start here. Now when it's time to go to g, excuse me, when it's time to go to f. Okay? It's simply a matter of doing Doblin the G here like we did to make it as suspended too. We can have input and a C and now it's okay if we wanna go back to C. So we're making little movements, but the sound is changing, okay, and the sound is open. It's more interesting, it's not, we're not doing that anymore. Now we're doing standard letter f. This is very powerful, okay? Same core. You only move in a few notes, even though the left hand is changing, all I'm doing is C and then doing a pair juice. It's just beautiful. That's one of the beauties of coord voices. You take a simple chord in, you open it out, you double or some of the nodes, you take some of the Mao and you open up the sound to this brilliant sound. That's why I said I could name this whole section on court voice and give it a different name. It would be from basic to brilliant because we're moving from just like that to this. Right? So I hope you've enjoyed this lecture and I'll see you in the next lecture. 28. 27 Chord Voicing Min7: Hey friends, welcome back. We're continuing a chord voicing. And building on that, we want to look at minor seventh chords today and how we can voice them differently. Okay, so if you take, let's say D minor seven chord, right? You've got your D, F, a, and C. So looking at it, a left-hand is already doing a d. Ok, so we don't need to be repeated that here. Okay, and now we're left with an F chord here, right? We can run it through the other versions and swell. That would work too. Okay, another thing you can do as you can begin to double sum of the node. So if we take a look at the D minor seven chord, ok? This is out. Okay? We can take the a out, okay? And double the f. Okay, in, put in like this. So we've got an f, c. F, c, how open the sound is. So next time you are at sea as he Major seven. I need to go to D minor seven, right? Another way you can also play it is you can decide to double all the A's and throw in a c. So that would look something like this. Okay? So you get a C and a and still get your D minor seven chord. Going to the first 1. Second 1. All right, so that's one of the ways you can play your minus seventh chords. Move some of the notes around. There are times that you can even add extra notes that may not necessarily be a part of the cord, but you can create something like suspended. Okay. Like how we added the second 6e to the court. So let's say if you have a C minor seventh chord, which would be this, right? Okay? You can even add the second, right? When you do that, it's almost like a minor ninth. Ok? You're going above the octave. So 12345678, and then you add on a nine day, and that sound as beautiful. Okay, so now you've got this. Ok, let's say if I do this right now, all of sudden I got a sound that is centrists thing I can do. Right on my left hand, I can do to root fifth and a minor seventh, okay. And then on my right hand, I can do this. Right? That's certainly different from where we started. 29. 28 Chord Vocing Min 7 II: Hey friends, welcome back. So we want to continue with a minor seventh chords, how we voice them, how we can voice them to make them sound more interesting. So let's take c minus seven, which is your C minor seven, like that. Okay? So if we take the c out with an E flat major chord, and then we get the C to the left-hand. Alright, we can even take out their fit and give it to the left-hand. So now we have this. Hey, listen to the sound is very open. And we can decide event to flip this. Okay, make it this. Another way of playing the same chord would be to do the root fifth and then the seventh on the left-hand, alright, like that. And then we've got a couple of options here. Okay, we can decide to do double the E-flat. All right? So on my right hand, all I'm doing is I'm doing E flat, B flat, and E flat. I'm double in the E flats. You can even decide to double the, the B flats two. Alright, so now you have dead. Okay? Sends, I doubled it here on my right hand. I left it out on the left-hand here. Okay. I could certainly put it in like that. Okay. So now we just went from two to man, that guy. So next time you have to play like a C minor seven chord. Let say you are in the key of B flat, okay? And then you need to go to C minor seven. And you know, think about maybe doing that or okay, so let's say we've got a progression that goes to C minor seven, and then it goes through, and then it goes to B flat. So this is how I would approach it and I would just play my B flat that's a suspended to. So instead of this, probably do something like this. Okay. Okay. So I've got this, and then I need to go to C minor seven, So I may do something like that. And then the f. And then I come back to B flat, major seven. Okay, I moved to E-flat. You get the idea, right? So like that, there are also times that we add extra notes to the core. So let's say instead of the c minus seven, right? We could decide, we can decide to add an extra note may be the second, which is the d ok to it. Right? So in that case, if we do that, we're basically just extend in the harmony and instead of a C minor seven, okay, now you've got a dy, which is, so 123456789. Okay, so now instead of a C minus 70, ever C minor nine, ok, now that opens up a whole new possibilities because more than notes in the chord, the more ways you can voice that chord. Okay, so we've got this. We can apply the same thing we did here. What? We can do this and leave the C out. Now I liked this chord because you've got this moment of tension here. That dissonance clash here, okay? And it makes the court Interesting. Okay. Sometimes I do this thing where I wrote the notes, I play it backwards. So I roll it back and it's like that. Okay? So you could even decide this same chord. That's mine, a ninth. Ok. You can decide to rearrange the notes and see what else we can do. So we can do a C on left-hand root and the seventh. All right? And then on the right hand, okay, we played a dy. So we've got a fourth here, and then we've got a fifth here. Okay? Alright. Another way we can do it as we can do. If you have long fingers like me, you can stretch out and do something like this. So the root, the seven and the nine. And then you can put this on top of it and it creates this class, which is interesting. Okay, another way you can voice it as like that. Remember the Doblin. Alright. So the possibilities are insane. It's just the matter of arranging the courts in a way that, you know, spaced out and then you adopt when some of the notes as whales so that it's not always like that. Feel free to double sum over nodes. Okay? So I hope this gives you a sense of how to voice the chords, okay? By doing that, you open it up and you began to discover different weights, interesting ways of playing the same chord. To make it interesting, once you get a handle of this, this is going to change your plan. And Stan Lee, Okay, because now you're not just doing this becomes right. Okay, I hope this makes sense. All right, I'll see you in the next lecture. 30. 29 Revelation Song: Hey friends, welcome back. In this lecture, we are going to be applying all the things we learn in the voice in section two, a song and really look at how we can play that song. Not just going through what's on the core chart, but seeing how we can enhance what's on the core chat using voice and techniques and all the courts that we've learned. So in this lecture we are looking at Revelation Song, right? It's in the key of D, And let's look at it here. So it's indeed. And then so D is the home key song, the planet and the key idea playing the song again. And then notice something interesting here he goes to a minus seventh, okay? Normally you would think, okay, yeah, it's going into an a which is the fifth. But this time they made the fifth a minor, right? Which is very interesting. Now. So you have one and then five minor. And then where does it go? It goes to a C, which is the seventh, okay? A seventh of the key of D, And then it goes to G. Right? Now, that's kind of expected because if you look at the courts from the eighth minus seven, this part to G, Okay? It's basically a minus seven as the two of G and K as the two of G. Okay? And then you've got your see here, okay, which is the fourth of G as well. So they are all related in one way or the other guy. So it goes to a D, and then it goes to a minor seventh. And then from there it goes to c, which is the seventh, and then it goes to G, which is the fourth or the key of D, right? Pretty much that's the whole song, right? So you may be thinking, well, that's probably boring. So all we're gonna do is I'm not sure you can certainly play it like that, but that's not what we wanted to do. We want to take it from basic to brilliant, okay? And this is where we start applying all of the things we know. So let's get into that. So again, the courts at D, And then it goes to a minor seventh, and then it goes to c, and then it goes to g and then repeats. It's pretty much repetitive. Okay, so let's see what we can do here, right. So for my d, I can simply do this. Alright, I've got my D and a root and faith on my left hand and then I've got my root and third and my right hand, or I can even do this. Ok, my third and then my room like that. Okay. Or if you don't wanna do that, you can start getting into the suspended to so now it's like, alright. And the interesting thing here, remember you'd, i'm a big fan of a suspended two. Why? Because you can move the notes around and make it sound more interesting. So instead of voice entity in the root position, I can decide to put the d on top here. Okay, so now I've got this. That's just for the D. Now, remember our voicing lecture. I said that sometimes you can take some of the notes out, sometimes you can double sum over nodes. So this same court, right? I can decide, OK, well, I don't need this d because the left hand is playing adhere, So I take it out. Okay. And what what I'm going to put in place of that as the E, I'm going to double the e. So now I've got this beautiful when from this to this. Now we've got this. Alright. Beautiful. If f We want even take it further, we can decide to double the ace. Ok. Still leave in the Dionne. All right, so on my left hand I just got my d, OK. And then I can add the fit that phi one. Ok? And I'm doing a e and a on the right hand. Alright? Now let's go to the next chord. So look at the many options you have now it's not just a D chord like that guy. Now you have a suspended two. We can even open it up again to double sum over nodes like this and then like that. Okay? So that's just several ways event if you wanted to use the third occur, right? So it would be right. So many ways just play with it. Okay, so we've done Jess only voice your chords in the root position. Okay, now let's go to the a minor part. Ok? So a minus seven, like this. Of course you know that if you take out this a and you give it to the left-hand, now you've got a C chord here. Alright? You can decide to play then versions, right? Or again, going back to the Doblin and stuff like that. Same core. If you want, you can also on the left hand, due to root n, this minus seven, then. Okay? So now we've got, that's one way to do the AMI S7. Okay? Or like I said, you can start dabble in some of the nodes. You can start taking some of the nodes out. Okay? Another way you can also do this as, and I know we haven't really talked about this, but sometimes you can add extra nodes to the chord, okay, so if you take this a minus seven, right? You can add a second to it, or more accurately, you can add a ninth to it. So what's the ninth of a is the same as two seconds. Okay? So there would be something like the, so now all of a sudden it's not a minus seven now it's a minor ninth, OK. You can do it like that. That the way I do it as Sometimes I put this here, alright? Because I want to create that tension between the C and the B. Alright? So now all of a sudden I've kept that. And you can voice this in so many different ways, okay? You could even decide to give the be the ninth ok, to the bees or to your left hand. So now your left hand is doing the root fifth and then the nine, like that. Or just the root and the ninth. If you've got a few constraints like that, right? And then once I've got that, and I could just do or if I don't wanna give it to the left hand, I could just do my Rude and seventh here. And then on my right hand, OK. And do something like this. I still got my minor ninth. Or sometimes I do something like this. I may roll the notes. Okay. So our role at like the in real time, that's what I would do. So okay, alright, let's go to the C. Instead of the regular C. I may do a C suspended too. Like that. Or that's another way to do it. To do that too, if you want. So many options, right? And then finally they go to the G. And notice I'm doing a G2 suspended here. And I'm repeating the g. All right, so that's some of the ways this is by no means the only way to play this, okay, but it's just to show you how you can move notes around to create interesting sounds. Okay? Sometimes Another thing I do is instead of just sort of going through the courts like that, okay. I may pick a malady is simple malady. It's not distracting or taken away from the main malady and sort of play it. So I may do something like this. I'm doing this. So a, D, E, a, right? Men, when is the a minus seventh? I come here. Is that on the seventh? I get to see however, all the nose. Okay? So hopefully this gives you some ideas as to how you can approach these songs. The courts are very simple, but it doesn't have to be simple, like domain that you can open it up a little bit and make it more interesting. Okay, so remember all the things you've learned from the voice and lecture begin to use them. Okay, it's that the notes around that open-ended app. Okay. See which ones you can double which ones you can give to the base so that you don't have to play it here, but then add more interesting notes to it and then make it more interesting. So hopefully this was helpful to you. Anyway, if you've got any questions posted and we'll get to it. And I'll see you in the next lecture. 31. 30 Here I am to Worship: Hello friends, welcome back. In this lecture we're looking at here I am to worship. And we're still applying some of our techniques that we learned from voice and lecture. Okay, so this one, unfortunately is D. D is not my favorite key or anything. It's just that's the key it's written in. Now always remember, like I always point out, you know, you lend a song in D, tried to learn how to play it in all 12 keys. It's very, very important. You never know when whoever's sing in it says I can't do it in D, I want to play it and you should be able to play it without any issues at all. Alright, so let's look at the chord C. We've got ds, the home key. And then from there it goes to a suspended. Now remember and asked to spend, suspend it, courts lecture. We said that they have suspended because the sound is not at rest, it's not completely at home. And a lot of times you play it and then you resolve it. But look at it here. Okay. Is a suspended. And in this case, we're talking about a suspended too. Although I think a suspended fourth or probably what two. Ok. So as but they are not resolve in it. So it's just staying at the suspended. Alright. They're not resolve. And so it goes from deed a suspended, which is the fifth suspended, and then it goes to E minor. Now, what's E minor in relation to D? That's the second chord of d k when you bailed in courts, diatonic L0 based for the D scale, right? And then I can go back again, do the same thing. And then they go to a G2, right? And they pointed it out here that no third, so you're not gonna do your regular gee, you replace that theater which is to be with an a. I go back again and then they get to the cars. The cars they sat on an A7 suspended. Ok. So you get your A7. Okay. And then they've got a suspended here. Now every time, every time I get a chord like that, I don't try to play all of them in one hand. That's the purpose of voice and Okay, so I tried to split it out and now I've got something like like that. So and then from there they go to D, and then they go to a on the right hand versus a C-sharp right here. Okay. And then they come back to. D against an F-sharp. Okay, now, why didn't they just do an a like that? Sometimes you a plane. Yeah. You could do a and you'd be correct that that's not how they want it to sound. They wanted sound and a against a seashell. Sika, forget base. I don't wanna get too technical here, but that's what they are doing here. Okay, and then they do. Okay. All right, so let's take it from the top here and then sort of ran through it. The court said pretty much the same verse two, So inverse one. And so again, you've got your chord CA U, d, which DIE gonna be playing, or four. And if you apply in our voice leading that we talked about, then you know that you could be here, you could be, let's say. Now we want to go to a suspended. A suspended, okay, now what are the nodes and a suspended? You've got a, you got your a, B, and E, OK? But you are here for the D chord. And when it's time to go today is suspended is just a matter of It's just a matter of going to a on your left hand, maybe root and fifth. And then instead of this is just a matter of moving this here. And where Dan, so we're staying at the same place. E minor. Ok. Although I'm mad in the seventh year, you can play the plain old E minor. I like to add the seven. So Alright, we've gotta G2 again. Okay? So. That's another option. And then let's go to the course. I want to show you something there. So once we get, then with advanced part of the verse, then they play the S7 here. Okay, I like that. One thing I like to do there, instead of just doing here I am to where I am today. There's this concept in jazz or blues that's called sidestep and host side slipping. So instead of, let's say I want to come to this, note, this a note. Instead of coming into it right away, I would play a note that is close to it. Okay? Either app and not, not an octave, but APA half note or down a half note and then get to it. So let's say I'm here or sometimes it could even be a whole note. So I'm here, right? Or come here. Okay? Sometimes you could go here and slide here, or go here and slide here too. So to this core night that a normally I would do something like this. And I would do the same thing, although I may not grow the left-hand like that, but I would play the node, so it will be like that. Okay? So that's how it would play them. So so I am doing here. And then we go to that d against the F-sharp. Now why didn't we do this? Okay, so when the basis moving ok, you get, you obviously sense that movement F We here. Once I hit this coordinate, tells me that we're getting ready to move. Okay? But when we go here is at rest. It can stay there, doesn't have to go anywhere. So that's one of the reasons why they do that. And, you know, the, create that sense of movement that we move in rather than coming back here. Alright, so let me show you another thing here where we do the altogether lovely, alright. You can stay. They normally I wouldn't do that out would that space in between? Okay. I would do something like this. So all I'm doing is g. G, and then I go to a and then I would do be on my left Ana against the G. And then a C-sharp against an a. And it brings me back chess for a change. Your two like that, right? So I'm created a movement, those, that call it pass and courts the internet really part of the song, but they create that sense of movement. We pass in like that. Okay, so feel free to use that. Alright, you hear a lot of that and gospel music where there's some space there instead of just leaving it. They feel it app. It's not every space that you want to fail as we talked about in our one of our lectures about plane at a band situation. So just be mindful of that. But if there's space that nobody is failing and you want to fail it, go ahead and do that. Okay. It's very important. So pretty much this is just the, I guess a simple way of plane what the song in the different elements in it that you can, you know, and hands and take it from basic to brilliant. Okay? And another thing I want to show you is let's say the Song and sin, the four chord, right? Sometimes instead of just staying there like that, I am a stat, putting in some maladies instead doing. Okay. All I'm doing is so for D C sharp or D flat to a, you can take it to wherever you want. I'm doing that. And then I went like that. Now I changed it. I went to a D, B minor. And then I'm doing or stuff like that to make the music more interests in so that you're not only doing courts. Okay? Some songs may require you to do that, but if you've got the freedom to move around a little bit, by all means go for that. Okay, so go through the song, what some of the ideas that I have shown you and then expand on that. Okay, I've also gotta a soundtrack prepared for you for most of the songs that we're looking at. So the piano is sort of taken out and then you're gonna go in there and then play with it and see how you sound. Alright, so walk through it and if there are any challenges or questions, let me know. I'll see you in the next lecture. 32. 31 Playing in Solo: Hey friends, welcome back. So in this lecture we are looking at plane in a solo situation versus playing in a band dependent on your contexts at this point, let's say your plane for small cherish that doesn't have the whole band, then you're going to be playing and solo contests where as just all by yourself. And when you play it in a situation like that, you need to understand a few things so that you can save well in that context. Okay, so when you plane and so low, you have to be the whole band. That's the number one thing you need to realize. What do I mean by that? Well, when you have the whole band, then all the range of instruments that would typically fail, the music spectrum you're supposed to be providing it. You don't have a drummer for the Foundation, for the low end the show, you have to provide that. Okay, you don't have maybe a guitar play, it'd be doing stuff in the high end or in between that you need to provide all of that. So number one, gotta be the whole band. And number two, you also have to provide how many the whole harmony of the music, Okay? You need to be plain courts so we understand that music. Where is it going, what is it doing? Right? You also need to provide the time and the rhythm. Okay. Festival. What time are we plan it n Now we do in 44, Are we doing 34 or what are we doing? You need to provide that. Ok. And you also need to give us the rhythm, whether it's going slow or how slow, I mean know how fast. Alright, so if we take the song that we looked at, we fall down, alright, in the key of G, right? So if I'm planes Solo all by myself, ok, and need to provide the Hammond is what you're going to see me do as you're gonna see me do a lot of left hand movement. Okay, I'm going to be doing a lot of VOC devs and going to be playing in this range. Guy. I may do the intro here. I may start with something like, all right, so notice a few things here. Alright, I did the intro in this range, okay? And then I quickly moved here. Okay, this is a high range, maybe just for my intros and analogs and stuff like that. But the main thing is happening around this range. Ok? And not only that, I play the intro, I also gave you a sense of time. So. 2341234. All right. So you know, we are doing it in 44 time. Alright, let me play a little bit of it and you noticed a few things here. Okay, so you realized I'm providing a rhythm for myself by doing, OK, I keep drawing there. Alright, that's providing a rhythm for me and you realize that m all here and my bass part, I'm dealing with a lot of octaves, okay? Because I don't have a bass player, so I'm alright. All right, so I'm doing all of that to keep the music moving forward, right? So when you're in a solo type situation that those are some of the things you would want to do. Ok. Pick something you don't want to be move in your cohorts around too much. Okay. So you're like what I was doing, I was N here. I'm not doing. You can certainly do that, but you don't want to do too much of that, okay? Because as you move your leaving holes in the middle and you don't want that unless that part of the music requires you to be, let's say here. O is, try to stay within this range. If you're the only person, plain arrow, do you a lot of good, you'd be able to support the music better than just, you know, trying to play here. Because then you'll live in, you're leaving the bottom out there. Nobody is doing that. So I hope this has been helpful to you. I'm going to also look at plane and a band in next lecture. 33. 32 Playing in a Band: Hey friends, welcome back. In this lecture we are looking at playing in a band. So in a previous lecture we looked at plane and a solo situational when you're playing in a band, one of the things you need to recognize, number one is this that you share in space. It's not a solo situation anymore. You share in space with the drummer is sharing, sharing space with the bass player and guitar players, keyboard, whatever the instrument may be involved, you share in space. And when you share in space, you can do what you want. Ok, because you've got to recognize that at this I use in the same space too. And most of the times to winning a plane and a band, you play in a supportive role. You may not be the lead instrument. And so remember that you cannot always think, oh, my instrument should be the lead instrument all the time. There's some songs that the piano may not be the lead instrument. And so you're going to have to play a supportive role. Don't try to always get in the way of lattice. Okay, so when you are playing in a band, don't try to fill all the space in the music. This may have something they want to contribute. Ok, so don't do that basically follow the etiquette of communication. When three friends decide to get together and maybe talk about something, what do you think it's going to happen? Okay. Each is going to take a turn and talk in and communicate in and all of that. Same thing. Music is a language. Okay, we're communicating through an instrument. And so when one friend decides, Okay, I'm going to hijack the conversation. I'm going to talk and talk and talk and talk and not a lead any buddy Yale's even interact with the things I'm communicating. We're not gonna have any communication. It's going to be very, very bad and it's going to be considered rude because you're not allowing this to talk to as the same way in music. When you're playing in a band. Leave room for others to also express themselves. Full adders to interact with your ideas or what you're doing. Don't just keep playing and playing and playing. B. Give you another example. When you are playing in a band, consider it like poor in liquid into a funnel. Alright, so that it goes to a bottle or whatever you've got, you want to pour the liquid n. Notice that the funnel has two parts. The first part is the big part where you Paul the oil liquid, okay. And then you have the conduit where the oil or liquid goes through. That's very, very small. Okay. The big part where you pour stuff and to as big. Okay. Look at it like that. You have a big band, you have everybody trying to get through that little conduit. So how much do you think you need a pore in there? Very little another not to choke it. If you put too much in there, you're going to prevent others from going through the funnel. You don't want that, so you want it to be very little OK and supportive. Do just enough. If you are playing in a soloist situation, it would be the opposite of the funnel where the little conduit is. It's just you try and blast through to the big end of the funnel. Ok. So that's how I want you, I want you to look at it. Let's look at an example here. Again, using the song, we fall down. Okay, I'm gonna play this for you here and show you a few things. So Let's go. Ok. Now notice with this one, I've got a lot of instruments play. Okay? I've got a PAD IF data and oboe, just killing the melody for me and I've got Trump's, got strengths. So I cannot play this like complain and the solo situation. A wooden make sense. Ok. And a it would be overpowering. All right, so in this situation I'm gonna be playing very sparsely, not alive because I've got at the instruments plane, watch what I do here and the MOOC. Okay. And notice I wasn't doing much at all, all I was doing. Okay, and at the chorus, I even came up with just a simple melody doing. Okay, I've got other instruments in it, so I don't want to be doing too much. Okay. I've got a bass playing OK. Left-hand staff for me, so I don't need to be playing in this range. Medina up everything. I just need to be in the right range where this would allow it to cut through the mics and also get away from everybody else. Okay, so I hope this example is helpful to you when you are playing in a band, limit the amount of stuff you do, okay? If you see that, maybe the middle part, nobody is doing anything there. You can go and stay there and sort of help move things along. If the metal part is Folder, base part is Ford, and stay up here. Do some simple things here. Okay? Not too many notes. Pick a malady to play a support in row and you would see the music go to a whole new level. All right, I'll see you in the next lecture. 34. 33 Sound Selection: Hello friends, welcome back. In this lecture we are going to be talking about sound selection. So a lot of keyboard players who play in worship bands today, it looks like all the time they are playing the piano sound. Now, there's nothing wrong with that per se, but if that's all you, a plane after a while, it kind of gets boring. Alright? So I want to be able to give you some tips to help you, to be able to transform what you play it and make it enhance it a little bit more. So next time you need a play something. Let's say in the worship, I play a piano with a string patch beneath it, something like this. So I've got, alright, so I'm not doing a whole lot and just moving around, you know, try not to do too many things that would draw attention to myself that I'm playing to sound cs. So I gotta make room for the strings to breathe because it's got this slow attack. So I don't want to do too many things to, you know, make it muddy or anything like that. But I'm playing my piano, but I'm also leaden the strings come through in a way that's meaningful, that sounds realistic. If a string session was playing, it would sound like that. Okay, so next time use the piano, but then put some strengths beneath it to make it more interesting. And that, that sound you can also use as the electric piano. This used to be one of my favorite sounds, but people don't use it anymore. Okay. Go something like this. It's a very pretty sound, very, very pretty. Ok, I use it for your worship. And instead of always the piano, piano sound, you can even lay at this same sound would strings, okay, and it would go something like that. Ooh, It's a beautiful sound. Okay, you've got thousands of sounds in your keyboard workstation today. And most keyboards today have a lot of sounds. Okay, don't just always pick that one piano that you keep grinding. It gets boring stat exploring other sounds and use it to advantage. Okay? All right, and that a sound you can also use a, I use this all the time as paths. Okay? Let's say the services getting ready to get started. You're not playing the song yet, but maybe you worship leaders, extraordinary congregation and you are behind. Don't just sit there like that. It feels awkward, but do something, maybe you get this sound. Right. So all I'm doing here is I've got, I'm in C, Okay? And so I've got my sustain pedal on and all I'm doing, I'm in C, then I keep move in the right hand. Okay? So it looks like the sound is moving. Only the right hand is moving in the left hand is the same C chord. And I'm going to just see, okay, use this before the savage stats and it's beautiful. I. You can also use another pad. And let's say it's the music or the services at a point where everything is kinda quiet. People don't know praying, meditating or whatever. You've got this beautiful sound you can use to Yes, very soft. It's beautiful. Use that now your keyboard may not have the specific sound that I'm using, but that's okay. Most keyboards have really, really, really nice pads and they're okay. So use it to your advantage. Use it. Another sound that I like to use a lot too as the road sound. Okay. It's very light. It's beautiful. Okay. Get in the habit of using the sounds and you're going to notice one of the things you're going to notice as you try to play with all of the sounds, you're going to realize that you cannot play all these sounds like you play the piano like you had done. That would be insane. Okay, that's not how this sound played. A lot of times you're doing some open course. Or maybe you're doing some clusters of notes, a set of bunched up together. Okay, so this would help you a lot to be a really good keyboard player. Because now not only are you learning how to play the piano sound, but now you know how to play an electric piano, you know how to play roads, you know how to play. So okay, that makes you versatile. And so they put you in any situation you'd be able to play in play, well, it's very, very, very, very essential skill that you need to have. Okay, so don't shy away from these sounds and only just play your piano and just play your piano. It gets boring and it doesn't show any sophistication or whatever you're not there to impress, but you want to be competent. They're two different things. Competent and you are failed and know what you're doing. You know how to enhance whenever you are doing too, you know, help the service. Okay? One last sound here once you to also look at is to string sound. Okay, I loved the strings. I listen to the orchestra all the time. Okay. It's, I again tell you string is, if I wasn't a piano player had probably play some string instrument, I, it's just beautiful. But the challenge here is when you are playing it on your keyboard, ok, this is going to take some, you know, experience and really listening to string instruments and how they play or have they sound. Okay, so the times that the place is quiet and they need something. To really, really, you know, stare at people or something like that. Ok, play the strings, okay, but learn to play it in a way that's authentic, that's very close to how the original instrument would sound. So an example would be something like this. Okay? Right. Okay. This sounds just like an orchestra. And okay, and may not be doing a lot of movement, but this is close to how string section would play. Okay, so listen to all these instruments and learn how they sound and real life and incorporate them in your plan. Okay, if you start doing some of these things that I'm talking about, it's going to change everything in, is going to enhance it. Alright, so go back to the keyboards that using the sounds that you've got in there, see how they sound if you can tweak some of them, go ahead to suit whatever you do, and that's how you grow in this failed, okay? Be willing to experiment with things. Don't just be happy with the status quo. I, everybody's doing this. I'm gonna do that. Doing that you don't you're not going to go anywhere. You want to be competent. You want to know what to do at every situation using the tools that you've been given. Alright? Okay, I hope this was useful and helpful to you. I'll see you in the next lecture. 35. 34 Modulation: A friend, welcome back. Okay, so I want to show you a couple of things here. So let's say you're playing in a key. Let's say you are in the key of C, right? And you need to modulate what I mean by that is moved to a different key, okay? A lot of times when we're modulating, we're going app. Okay, so un si, and then you want to go to say d. Right? Now we just can jump from some songs to that. But a lot of the times I started how we marginally, alright, so you in C, You want to get, right? What's the easiest way to do that? Well, this goes back to what we will learn in when we're built, we were building the foundation. Remember how we talked about the dominant being called the dominant because it always is dominant and elites or pose to the one. Ok, so any key you want to go to, if you play the fifth of that, okay, it'll, will set it up for you to go to the one of the next key. So let's say when d, What's the fit of D? Okay, the fifth of D would be a, right? So we'll play some kind of an a chord. Alright, so we're here. And then it takes us to D. Alright? Where in C? You want to get to d. So now we're going to go into D. Now what did I do that all I did was I did a chord here. Okay? So in my left hand I'm doing the fruit and the fit of a. And on my right hand I'm doing the G chord. Okay? If you put all of them together, a chord you get as sort of like a nine suspended like this, okay? In terms of like Roman numerals or fewer, one of those people who like the Nashville number system, then all I'm doing is I'm doing a four over five and d. So four is the G and the five is the a. So I can decide to leave it like that and then go to jail. I mean, sorry, d or I can decide to do and then go to a salmon. That sets it up to D. Okay, that's not the only way I can. Modulator, okay, let's say I'm in C, I want to get to D. Okay, I could also do it to the, to five of the next key that I want to get into. So I want to get into d was the two of D, that's E minor. What's the five of D? That's the a. Ok. So I could do something like I'm here and see now wanted to go to D I could just do like that. Okay. I went to D minor. Sorry. I went to a seventh man. Takes me into D OK. Map. They are also times that maybe you want to move a half-step, okay, so you in C, You want to go to D flat or C sharp? What did I do? Basically, all I did was when I came back to see, OK, I played C. I still stay in here. My left hand move to B flat. Okay? If you put all the nodes together, it's like a C with the 07, okay, left hand. And then I did a four over five and C sharp or D flat. So the four is F sharp. Okay? And then the five is that G-sharp. And then it sets that app for the flat. Okay? So these are some of the ways that you can use to modulate their all kinds of ways. This is by no means the only way you can do that. Okay? So hopefully this gives you some ideas. And also as an exercise, go listen to songs that have modulations, key changes in a, in it and see what you can find, OK. you may find all kinds of interesting ways that they change keys, okay, and then add it to your astronauts. Things you know, ok, that's the way you learn. You gold out there, listen to music, see what others are doing. Try to see if you can figure it out, understand it. And then once you understand it, you've gained new knowledge. And then you keep growing, keep growing and keep learning and keep expanded. All right, so hopefully you got something out of it and you're going to practice and tried this in all 12 keys. Like I always say, it's very important. All right, I'll see you in the next lecture. 36. 35 Arranging : Hello friends, welcome back. In this lecture we are going to be looking at arranging and instrumentation. And what I mean by that is basically we are going to take a song and sort of break it down into its various components so that you know what they're doing in each section. And now understanding this is very important because it'll help you to be able to play the music well, you wouldn't be doing too much when he is supposed to be doing little and you won't be doing little when he is supposed to be doing more. So let's get started. So most songs have what is called an intro, okay, which is just the beginning of the song. They may play maybe the last few measures of the song, or maybe the cars and then leads you back into the verse. Alright? So you may be something as simple as and then it goes into the verse, okay, so the intro a lot of the times is very, very simple. And the instruments that are doing the intro, a lot of the times it's not a lot you have. It could be just a piano plane like I just did, or maybe a guitar player just stream in the courts of the intro, whatever they've decided to play at that point. So intro sad, not really, really huge, although they Song set intros can be very huge. Lack all the instruments are plain and, and then, you know, after that, it goes into the furs worth everybody's sort of recede to the background. So, but the most common ones tend to be, you know, Intro say and not doing a whole lot of Lot. They, because they had just introducing the song. Okay, so after day intro a goes to a VRS, right? The verses where the lyrics come in, that's when we get to know what song is it. Ok. So the verse two way a plane there, as far as your role is concerned, whether you're a piano player, keyboard player, or whatever instrument you play at the verse, not much is going on because we just started the song. We want people to know what song we're playing. Alright, so if for a plane there, we're not doing a whole lot, okay? We're not plain a whole lot of nodes in terms of volume. We are not playing too loud. It's still kind of soft because we wanted people who didn't know what song it is. Alright, so the same song that I played at the versus, I may do something simple like. Alright, so I wasn't doing a whole Allied, just simple courts. I, and then some songs have what is called a pre-chorus is just before the cores, written. Pretty much that's all domains before the course, so they will get there. And then that's the point where the stat to build a little bit in anticipation of the cores. And so they would get to the course that cores is the applied where people referred to it as the hook. Okay, that's the part that most people remember. When it comes to a particular song. They may not remember the verses, but they remember the chorus because that's the whole walk of the music so dead. At that point, all they instruments in the plan may not be necessarily loud the first time, but you know, the plain at a good volume you can hear all the instruments, you know, because at the versus maybe it's only guitar or piano and drums. Ok, maybe the bass is playing, but it's not plain like it's real heated and all of that and he's just doing his root nodes and no, not really doing all the typical stylings that bass players do. I, so when I guess that a chorus, then it, things have set of fam DAP. And so now everybody's playing what they mean to be a plan, okay, so the chorus and maybe a game, that's the song that I'm playing. 10 thousand reasons. So, right, so you realize that I'm playing a little bit louder now because it's at the chorus. Okay? That's what we do most of the time at the course. Okay, it's loud. Alright? And so from there, and the song may go back to second verse. At this point. Everybody kinda knows the song. And so, you know, if it's a song that is a congregational song everybody is singing in at this point. So the volume is not like when we first started in verse one. Now the volume is a little app. Okay. Everybody is into the song plane and the plane. So it's now at the same volume as when we went to the chorus the first time. And then it goes to the chorus again, and this time it's really full volume the plane. Some songs also have what is called a bridge. Okay? So the bridge is at that point that's like the climb mess. It's very, very intense and the music, pretty much think of it this way. You know, it's like every song is sort of like a graph that is Stat and from the origin at stats, slowly in there, hits are a plateau a little bit and then it gets real agitated and then a hits the climax and then its descendent come in down. So it a bridge is sort of like the client mess where everything is heated. And they may have a different progression at the bridge. So maybe but it's really loud. Okay. Because it's, That's supposed to be the climate's after that. The music's that's dropping as, in terms of volume as that's going down a little bit. Okay, so you may start hearing. Now some songs may given build back into the course again. All right, and then after that, then it goes into the end, end, where at this point they are trying to end the song. Though there are also cases where the song goes into something called a Van plus just a repetition of the same, you know, a few things they are doing and they keep repeat and repeat and let's say they have. Okay, it goes over and over and over again. And then when they I guess they get tired of it, then they go into the end. It right in the end in tends to be, it could be big or it could be very soft. I like that. Ok, or it could be big to a piano player may decide to do some brands or whatever they wanna do at the end. Ok, so this is just sort of like a brief guide. You know, how to look at a range in, okay, you break the song down into various parts and figure out what the doing in each section at the intro, what courts are they plan, what kind of sounds have a plane, okay, let's say for keyboard play at the intro images be a piano and electric piano or road sound. There it gets to a verse. Same thing, it gets to a chorus. Then you decide, OK, well, they need to make this a little bit for early. So maybe you put a pad or a string pad underneath the piano and then you make it much fuller. Ok. gets too chorus or verse to, you kind of take the pad out, will strings out, and then you build to cars again, you put it now, by the time it hits the bridge, you decide, Okay, I need some pad or I need some strengths that would, you know, sort of pounds on the rhythm and all of that and you do that. So understanding which section of the song We Are is very important and helps you to know what to play in what courts we have plane there. So try to learn, pick any song and try to break it down and figure out the arrangement. What are they doing? Are they also doing a chorus twice or one? So whatever. That helps a lot. Because when you start getting into say, song right in all of this would become very valuable in you realize that, you know, this is important. So pick any song and walk through it, right? And let me know what you find. I'll see you in the next lecture. 37. 36 Conclusion: Hello friend. Congratulations on getting this far in the course. We've come to the end of this course. I hope time together and discourse has been beneficial and hopefully very helpful to you. And before we wrap up a few things I want to share with you, basically tips that I think you should know. So you may have heard about that joke, about this famous musician who was trying to get to Carnegie Hall and got lost and as this musician by the roadside plane and he said, how do I get to canopy Hill? And he says Practice, practice, man. You know, it's funny as it sounds. It's true in a certain sense. Carnegie Hall is one of the prestigious music halls to be able to play at. And so to be able to play it that hall, you know, you've gotta be really good and you need a practice. That's what they answer has come in from. Anyways, yes, you need to practice. Practice is very important. You not going to get good at this. If you don't practice, if you play, You know, one day and then you don't come back five days time you come back, you're not going to be very proficient on the instrument. It takes consistent practice. So develop a routine. If you don't have a routine, practice and develop a routine, ok. If you are able to practice 30 minutes every day, that's better than practice in one hour today. And then you don't practice again and then the next time you come back, you want to practice though? Yeah. Was it doesn't work like that. Consistent practice consistencies re very important. Okay, and I also want to say that practiced or write thinks otherwise you're going to get perfect in practice in the right, the wrong things. Practice, the right way. Practice to write things. Gay. If you came in to practice, your court's okay, make sure you are practicing, right. If you sum minus seven that you play and make sure you know all the nodes in the courts, okay? Make sure it's very important because you don't want to Mass at a wrong things you want to master, right things also lend to play in all 12 keys. Throughout this course, I have stressed the importance of learning how to play in all 12 keys. You don't want to be limited in any key. You want to be able to play freely in every key. Okay? So makes sure, do you practice in all 12 keys? It's very important. I can't stress that enough. And also listen to music. It's, this is a given you not going to be good at music. If you don't like to listen to music, listen to all kinds of music, Okay, if you look at this from the perspective of music being a language, okay, then it's even more important because let's say you are a native English speaker. Okay? Wouldn't it be nice to be able to understand some Spanish and French and Italian and all of that. Ok, so that when you're in an environment where it's culturally diverse, you'll be able to communicate effectively. Same thing with music, Okay? Lessen the different kinds of music. Maybe all you do is your Christian music we listen to, okay, sometimes listen to maybe classical music, Okay. You may find interesting progressions or ideas in there. Sometimes listen to jazz, okay, why do the chord sound the where the sound, let's say you're going from D, okay, to G, back to C. Jazz players are not going to do that. They're probably going to do something like this. You're not gonna do your regular. 2-5-1. They may do something completely different. Okay. Why spanish music sound the way it sounds? Why does gospel music okay, or why does blues? Why does blues sound the way it sounds? Okay, there's a reason and the more you listen to these kinds of, you know, styles you'd be able to understand, you gain an understanding of why things are the way they are. Ok, that's very important. And another thing I want to share with us, you need to be patient. They stain. It takes time. You know, you may have heard this phrase that Rome was not built in a day. Same thing with the keyboard. Even if you are taught everything you need to know about the piano or the plane, the keyboard. You're not going to be able to implement all of them today. Why? Because they take time, we, it takes time to grow in understanding. Right? So be patient, be patient. And for your learning today is your minor seventh. Be patient, go through them. Don't try to play like somebody else. That's at their level where they're supposed to be. Okay. You need to be patient and build up the foundation to where you're supposed to be. If you don't do that, you're going to find yourself in a very bad situation. In a lot of times I've met piano players who can do some things that people consider incredible, but they lack the basis. You don't wanna do that. Okay? Because you're supposed to build a foundation to the level. Imagine living in a house with a bad foundation, it's going to collapse at some point. You don't want that. Okay. So be patient and go through all the things you need to go through. Yes. I know there are a lot of videos out there trying to show you how to play this cool layer core phrase or whatever. But it takes time, practice, which you need a practice. Now, in trust me, you get there. Okay. And that a tip I wanna give you as, you know, play with that, that's okay. Get in the habit of playing with others. A lot of piano players learn how to play the piano and they play all by themselves, especially those that go the, you know, they take piano lessons and all they do is they read from sheet music and that's it. Okay? And there's nothing wrong with plain sheet music. It's great. You need to know how to read music. That's very, very important. But what I'm finding is some of these folks, when they are playing in a band there very, very terrible at time because they haven't been playing with other people to know how, okay, this is how the drummers play and this is how I need to adjust so that we're all in sync, we're playing and time. Okay, so play with others. It's very important. Also build friendships with other people. So you can share ideas. This is not the thing or a, you sort of isolate yourself. You don't talk to anybody in all you do is just play it by yourself. No, don't do that. Build friendships with other musicians. Be willing to share what you know with others is key, okay? A lot of the times when you teach what you know to others, expand what you already know. Because you'll learn all kinds of things from just teach and others. So don't be insecure with your gift. Be willing to share what you know. It's very, very important. Be willing to share what, you know. A lot of people I insecure with the, uh, give to do you think, oh yeah, if I show him this, then he's going to know how to play better than me. Now, that's not the case. When you share, you opening yourself up to receive new information. So don't be afraid to share with others. Again, congratulations on getting to the end of this course. I hope you've learned a lot. And I hope you go ahead and implement this course. Things you've learned in discourse. And also remember to give a review so that it'll help others to find this course. And it will also provide me helpful feedback so I can continue to improve the course. Remember, I'm going to be adding more content to the course. So you'd be getting emails, letting you know when a session of the cord has been updated with new material so we can keep this going. I want you to be proficient on your instrument. 38. 37 Bonus I: Hey friends, welcome back. In this lecture, we are going to be looking at a number of things here. I want to give you some tips that would help you as you play in a praise and orange ship team. And so let's get started. The first one I want to look at is, how do you transition between songs? Okay, let's say you are plane. 10 thousand reasons, so and you end in it. So we're done with the song, OK. And the next song is coming. Let's say the next song is Revelation saw. Okay? You can certainly do that in the song and then start another one. But I personally don't like that because it always breaks the flow of things. Okay. Yes, the song needs to come to arrest, but once it comes to arrest on just kinda leave it dry like that. Okay, next song, wine do 34. That's not how praise and worship normally works. You'll want the songs flowing into one song flow and enter the next. How do you do that? Well, let's say we ended our night. We'd go into Revelation Song. Alright, so I just lead into it, or just the malady that I'm in that plan. They actual melody of the song, but I'm just came up with something while I'm doing this. So. Something simple. I'm not doing anything complex. Yeah, I'm just playing the chords of the next song, but I didn't set of worship. And then I stopped and then I started a planet. That's now what I did. Something like that. So tried always smoothly transition into the next song. It's very, very helpful, keeps the flow going. Ok. What if you're the next song, you're going into this in a different key. Well then you are looking at doing some sort of modulation. And we haven't talked about that. We'll talk about it in a little bit. But it's basically change into a different key. Alright, so let's say we're here. We're in D. And the next song, guess, say maybe going a half-step App. And then we wanna go to E-flat. I'm not just going to do and then jump there. Okay? I wanna do something that's going to lead there. Okay? So I know, I know I'm indeed now I wanna go to E-flat so I could do something like this. I mean, d. All I did was I did D against the, and then I did C against the guy. Now I'm sort of descendant and left hand. I'm in route and then I go to the seventh, still maintaining the d on my right hand. And then I go to B flat, B flat. And all I'm doing is I'm doing B flat here and then doing the fourth of the key, I'm going, and so I am going to E-flat, Okay, so I'm doing the Fed on B flat and a fourth, which is a flat like that, then that puts me in E-Flat, right? So very simple. Or it could be any key. You can say you are in D and you have to go to G. You have to go to g. Okay? So all I'm doing here is I'm trying to find a way to get to G. So I went to E minor here, which is the second of D, bad SR. So there's six of the key that I'm going to, which is g, So I am doing. And then I'll come back to the go to C, which is the fourth of the key that I'm trying to get into, which is G, Okay, so I'm doing now I'm in G. All I did the last time was just do a d, a for over five, which basically in GM doing a D here, which is the fair, then I'm doing a c here, which is the fourth. And then I went back to the, then that puts me in G. There's so many different ways to get to the next key. But you want to pick something that is very simple, is not too distracting. Okay? Find something like when I was Sunday, I could just create a melody. Then that puts me in G. Ok. So slowly ease into the next key. Okay? Don't do anything complicated. That's going to change the whole thing. Because remember, a lot of times I see you're going into the next key other people or worship in and they won two. You don't want to break that flow. So remember that and stay within a short range. Do something simple, but do it in such a way that it'll lead centered in Nevsky flawlessly, easily, seamlessly. That's the word without any distraction. Okay, so do that. That will help a lot. And then the thing I wanted to look at is how you play the keyboard. Okay? I mean, a lot of keyboard players and piano players and in fact the a plane, not that they are playing the wrong courts or anything, but they just sound away, the sound the courts. It doesn't make it look pretty like at all. Like, let's say they would do something like that's not pretty OK. What I'm getting at here is your touch. Okay. How you touch the keyboard is very, very important. Ok, so let's say you guess something. Look at how I played the school. Okay. I didn't do now. I did. Okay. At some was psych gets a little soft there. Okay. And then the court said there we may be doing the same courts, but you're attached is very, very important. Okay? If you want to be a convincing keyboard player, convincing piano player, you need to pay attention to you attached. Don't just be planed. Don't do that. There may be songs that require you to do that, that's fine. But for worship songs, a lot of the times that's not how it goes. You know, pay attention to you attach, okay. Let's say your plan. Alright, you are playing behind the pastor or the preaching at a time when maybe the services almost ended, okay, and preaches sort of wrap an app and he wants you to play. That's not the time that you go and you don't do that, okay? Those times you want to play something that's very, very soft. Ok? Not drawing too much attention to yourself. Okay. You're all you're there to do is provide the background. Okay. So when I find myself in a situation like that, Amie do something like this. Or if you want to do something outside the minors, you know, you can do. All I'm doing is d And then I'm moving to D minor. Ok. And then notice here this is an F-sharp minor. Seven chord, okay? But I, this is something I do a lot. I tend to roll some of the nodes, so instead of doing, may do something like that. And then on my left hand I'm doing this. So it gives it a unique document like that. Okay. Something simple. Okay. Very, very simple. You never want to draw attention to yourself in a situation like that. You want to always be there. Kinda like your breathing. You know, you're not breathing so hard that everybody hears that you breathe in, you breathe in normally. Your music should be like that. In that instance, where you just, they're providing a supportive role, you're not the lead in instrument because at that time, you know, preaches, just talk in wrapping up things and you want to be very soft, not played too loud. Okay? So these are some of the things that you can do. And they may also be times where there may be an unload or before service stats and you're wondering, Okay, maybe you've got the timer is counting down. And some places they want you to play music either studio only you do anything. But if you find yourself in a situation where they want you to play music, then something simple again, all I'm doing is I'm doing a de against the right. So my left hand I'm doing D and a. And then I would move the a to C sharp, the seventh and then bring it back to D like that. And then my right hand, all I'm doing on my right hand, I'm doing in the first inversion, and then I move it to a G. But I'm leaving out the B and G, sorry, under D, I'm also leaving out the fifth. Like that. I'm leaving it out. So it's just the third and root. And then I bring it here. So 23, like that. Very simple. So I hope these taps have been helpful to you. Use them to your advantage. And remember what I talked about in the other lecture about sound selection. This is where you can use your either sounds too. Okay, so don't forget that and pick a piano sound, puts some strengths underneath it and go through this. Okay? It's beautiful, it transform everything, make it sound really great. And you know, it comes off as sigma, yeah, you know what you're doing. You're not a beginner, okay? Which is what hopefully you are able to get from this course taking you from beginner to a place where you know what to do. And the church said in 39. 38 Bonus II: Hey friends, welcome back. In this lecture we're going to be talking about some tips to also help you any plans, especially dealing with a band or team. Okay. One of the things you want to watch out for is the volume. Okay? These days folks play too loud. You don't want that. You want your music to be at the optimal volume or people can listen and also be able to talk to the next person sitting close by. You can make it so loud that inner begins to hurt the year. And in case you don't know this, you know, as a musician, you're ES, are very important. If you blow your ears, you blow your career. It's as simple as that. Okay, so you want to make sure you a plane at a volume that's not too loud. Okay, and another thing you may not realize is that you may have some old folks and your congregation. And you know, you get to a certain age you here and it's not that good. So they tend to get hearing aids. And these hearing aids, what they do is they amplify the sound. Okay. So when you're playing loud at church, okay. They're probably receiving twice as much in the ERPs and that can be very, very uncomfortable. And so when you play and keep in mind, you are there to serve you, not there to cause pain or make people uncomfortable that they decide, okay, I'm not even showing up again because these folks at too loud, you don't want that. Another thing I want to also look at is, yes, you will learn in this course. I'm sure you've gained a lot of skills that you want to put to practice and all of that. But please the goal of that, all my main purposes, not for you to acquire this skill and go show off, okay? If you do that, you miss the point. You are there to serve, you, not there to show off. Let everybody know that a man I know this, I can play this. So avoid that. That's very, very important. Go in with a servant's heart BY a team player. It's very, very important, okay? Also as you work with people, it takes respect and humility baby to work with people. If you don't have this, you cannot work with anybody. Okay. I remember years ago I was an artist that I was produced in. We were having a live record and and Houston, and we didn't have much time to brained my normal guitar player that I usually do stuff with. So I had this guitar player from the area in man. And okay. He came in, he yeah, he was good but humility, respect, lock-in. Okay. He didn't want to listen to anybody. He just wanted to play whatever he wanted to play. And so, you know, we had some conversations, some serious conversations and after that, Well, he did the best he could. I didn't really feel like you listened, but we did that and after that, that was it. And I never hide him for anything again. And so respect and humility are very, very important if you'll wanna get phi in this ministry and even in your business, your music career, you need to have the humility and respect people. You're not better than anybody. Okay, and I'll tell you this. I have played with some of the really, really, really great musicians out there. And, you know, I don't say this to brag or anything OK button. When I was going to music school, I was educated at Berklee College of Music in Boston, Massachusetts. And I mean, my professors, world-class musicians and you play with these folks. And one of the things you realize quickly is how humble they are and how respectful there, okay? They are willing to lend from everybody. They were willing to listen to everybody. Okay. The way app there is through respect and humility and not being proud and, you know, nobody wants to work with any difficult person. Okay? If you've done some studios sessions, you know how it is. When folks show up and all they wanna do is try to impress you and not do what are you telling them to do? That's not going to work. So pay attention to that. And the other thing is you also want to respect leadership. That's your work and appraise team. There at times you may even know more than you praise and worship leader, but that's not the that's not the I guess the license to disrespect them or anything like that. Okay. Serve and humility, serve would respect. It's always important. Okay. You want to be a team player, okay? Be a team. If you not plain and not thinking about being in a team, being a team player, then you're not going to last long. Okay, at the end of the day, nobody's looking for superstar. Okay, in a praise and worship team, we're looking for people who are good team players because when you have good team players, you can make anything happen. Okay? So be careful. Be a team player. May also be a servant is very important. You are goal there is to serve. If you don't know how to serve, then you're not going to do well. Okay. It's not all about you gay. There may be times that you instrument as the lead instrument. And so you may be tempted to play and play and play and play for it that don't overplay. Well Clay play within what? And it has been given you Okay, that yeah, think about it. There may be other instruments in the song that I also playing. They're all making good contributions to the song. And so you want to give room for everybody else. Ok, what can I do to help the drama play better? What can I do to play, you know, help the bass player to do, but I don't try to fill every space and the song with the legs that you learn from YouTube or something. And you think you're going to impress everybody with that. Lot of times it doesn't work. Okay? Be there to serve its very, very an important, okay? And another thing I also want to say is, you know, when you work with musicians like I have done for over 20 years now. And it's some have a lot of issues. Okay. What I want to say is one is time to show up for rehearsal or church service or whatever. Show up on time. Okay. If you can't show up at least 15 minutes early, okay, set up your instrument and make sure you've got the settings you want and everything in when it's the counter hits 0, you are ready to go. Okay. You don't want to bring anything that tails, I guess that you don't care about what you're doing and you're not a professional, you just do this. No, don't do that. All right. Show up. Show up with respect. Okay. Show up. Let people know that you know what you're doing. Okay. You show up on time, you always ready to go, right? It's very, very important. And the other thing is when you show up, make sure you have practiced. Spend time understanding the music you're going to play. If you only understand the music is going to be hard to be effective. Ok, yeah, it's as simple as that. Spend time in understanding the music, also spend time meditating and praying. Okay, if you're in a worship team, it's very, very important. You cannot lead people to a place you haven't been yourself. It's just a simple as that. Play these songs, meditate on it. Pray over it, understand it, worship with it yourself that way when you show up. Okay, you able to give from what you've experience, you can tell people about something you yourself have been experienced before. So it's very important keep that in mind at all, help you allot. Lastly, if I could sum all of this app, it would be simply this, that attitude plus aptitude equals success. Ok? You can have the aptitude, ok, they ability to do something, you know, play the keyboard, piano, whatever's okay. You may have the aptitude, but if you have a bad attitude, okay, you not going to be successful because nobody would want to work with you. So remember attitude, okay? Your character, you would mean, you know, how you look at things and how people perceive you, and basically how you carry yourself and all that, okay, plus your aptitude, the scale equals success. If you're missing any of these key elements, you're not going to do well, you're not going to be a good team player. Alright, so be mindful of these tips. You're going to be successful in this ministry, in this career. And yeah, I'll see you in next lecture.