RnB Neo Soul Acoustic Guitar

1. RnB Neo Soul Acoustic Guitar Course - Introduction: Hey guys, This the beard or guitarist. You may have seen me on YouTube, where Iran the viola guitar is YouTube channel or on Instagram playing some R&B and neo soul guitar. In this course, I want to teach you guys how to play R&B and new so on acoustic guitar will learn everything you need to play. This genre will cover several techniques, lots of finger picking, but also strumming or pages and hybrid thinking as well. And we'll understand music theory behind this style will cover subjects like code numbers and keys to understand the core progressions, but also coordinate substitutions, modal interchange. Anymore, there will be plenty of examples, chord progressions and exercises. And as always like for my YouTube videos, you guys will have the core diagrams on screen and some other graphics on screen to help you with the music theory class, you can download tabs and music notation for all of the chord progressions and exercises. And you can download a new soul drumbeat that I put together for you guys to practice and to develop your creativity. Now Who's this course for? It's not for complete beginners, but it is indeed for beginners of this style, for beginners of R&B and neo soul guitar. So if you play guitar, but you're new to RMB and neo soul and you like this style. This is the right course for you. If you've been playing guitar for a little longer, maybe you are an intermediate who wants to get into RMB and Neil sock. Or maybe you already placed some RMB and neo soul and you want a structured course to cover everything you need to learn and understand this style. This is the right course for you feel free to upload your project using the chord progressions and the neo soul drumbeat in this course. And I will give you my feedback on your projects. If you guys want to learn RMB and Neil saw on acoustic guitar, go ahead and I will see you on the inside. 2. Min 7th chords: Right, So in this video we're going to look at some of the codes that we need to play, R&B and new. So on acoustic guitar, and we're going to start with minor seven chords. You might wonder why minus seven chords? Well, first of all, because minus seven codes are arguably the most common chords in this genre when you play R&B and neo soul. And also because if we want to play R&B and nails, so we need to get from the start into seventh chords, okay, We will talk about triads and try it with a different base as well. But the main focus will be on minus seven dominant seven major seventh, seventh chords. In general. Obviously diminished seventh, which will be a very important chapter of this course. So how do we make a minor seven chord? Well, we will need the root, the minor third, the perfect fifth, and a minor seventh. So you basically have a minor triad like one of the minor chords and I'm sure you know, and then a minus seventh on top of that. Now we'll be looking at a couple of options. One option with the root on the a string and one option with the root on the E string. Okay, because with these few chord positions will be already able to get into first chord progression, a first vibe to get into the RMB and neo soul on acoustic guitar. For the root node on the a string, we're going to look at a D minor seven chord. Now, the d minus seven is made by the notes D, F, a, C. And one position that we absolutely need to know is this one. Now, when we play this position, the root is on the fifth fret of the a string. We bar the fifth fret, and then with the other two fingers, the second and the third, what you do really is playing a name minus seven shape. What does that mean? You might be familiar guys with the caged system. Now, if you are, you might know that when you play an a minor here in the open strings, you can also make an a minus seven just by lifting one note, okay, lifting one finger amine and getting the minus 7th, an extra note like that. So if this is true, every time that you play a barcode, which is actually coming from an a shape like this one, you can do exactly the same. So rather than playing a D minor triad in a shapes are coming from the a minor shape. You actually left the little finger and you get this d minus seven, which is the same as the a minor seven, but with a root hair using a bar on Fred number five. Okay. Now what do we do when we play this chord, guys? We definitely mute the top string with a fingertip of the bar. So just make sure that the bar doesn't cover six strings. You only need five strings like that, okay? Then it's optional whether we play or we don't. The first string, it depends on how we played in terms of patterning, depends on which chords you play and which technique you are going to use. Okay? So this is our D minor seven. Obviously this is a movable chord. So as long as you know which one is the root, in this case, the D here, you can move it all through the fret board and get all of your other minor seven chord positions with a root on the a string. Okay, now let's have a look at minus seven chord positions with the root on the E string. So one option that we're going to have a look at is this a minus seven fairly common core, I would say. Now the way we make this is again referring to the caged system using the shape. Now I'm sure you guys know how to play an E minor here using open strings. What you do really when you lift the ring finger and you get this, you are playing an E minor seven. So using this E minus seven position, you are going to be able to play the a minus seven, borrowing the fret number five with your first finger, and then just using one finger, the ring finger for number seven to play this. Okay? So effectively, this is an a minus seven in each shape. Now again, when you do this, you can definitely move this chord position all through the fretboard just by looking at where the root node is. For instance, the a in front number five, you move it wherever you like, and you can play all of your other minor seven chords using the same shape with the root on the E string. So that's an eight minus seven life. Okay? When you do this bar, of course, you're going to borrow six strings this time because there is no string that we need to mute, okay? And the root is on the top string. Now, this is not the only way of playing this chord and another chord position, which is really important, and this time it doesn't directly comes from the cage system. Is this. Okay? Now, this is really very, very important if you are into Jazz, R&B, bossa nova, all those styles that really use a lot of drop voicings and things like that that we will explain later on in this course. So when I make A minus seven. All I'm thinking of really is how the a minus seven is made. So the a minus seven is made by the notes C, E, G. Now, the last three nodes that I just mentioned, C and G, altogether, they make a C major triad. So if I play C major triad here on fret number five using my first finger fluorescence now. And then I add the a on the base, all in plane. When I do this isn't a minus seven. So every time you play a C major triad, then you play an a on the base. You're actually playing an a minus seven, okay? Now, there are several ways of playing it. Okay? My favorite way is more likely with the second finger playing the bass note, playing the root, the a, and then with my ring finger playing this bar, okay? Doing this effectively. When you do this, this code has a bar, but the bar is playing with the ring finger, and it's a mini bar which only takes three sprints, the D, G, and B strings, okay? So this means that the first string, the high E string, is muted. And you don't really have to make any effort, I guess, to mute it because the ring finger already mutes it and the second finger shouldn't be too straight. You should actually have this finger facing you because this allows you to reach the end of the frame, which is the writing donation, right pitch for the a. And also simultaneously you mute the a string, the fifth string. Now, when you play an a minus seven, it's not too much of a big deal if you can still hear this note. But when you want to move this position all through the fret board, like if it was a normal bucket, it makes a huge difference. If you've got that a string muted. Okay, so let's assume that instead of a minus seven, we want to play G minus seven. I'm going to move this down two frets and I get a g minus seven, okay? And again, it's really important that I mu d a string like that. Okay? But if you like it better, you can actually place thumb for the base and first finger for the bar. Like that. Some other people, I guess they play like second, fourth fingers, kinda like this, but I personally find it uncomfortable. So I've never really practiced this fingering for this chord, but it's up to you if you find it, okay and doable, feel free to go ahead and use this fingering. Okay. So recapping the positions that we had the lookout in this lesson, we had a D minus seven played with the root on the a string. A name minus seven played either as a barcode, you know, each shape of the caged system or like this. And then the same position can go for the G minus seven that we used as an example of how we can possibly move the a minus. 3. First Chord Progression with Min7 chords: Now, with these two positions in mind, we can already play something. We can already make a first chord progression of RMB and neo soul played on acoustic guitar. Now, let's have a look at the chords first, we can use the d minus seven. Then play the a minus seven. Then the G minus seven. I'm back again to a minus seven. Okay, later on we will explain something about the theory of these chord progressions. And we will see that this chord progression, forest land, is in the key of D minor. And you're playing your one minus five minus four minus five minus. If you guys are not familiar with all this and you're not familiar with the code analysis and the core numbers. Don't worry, we will explain this later. So for now, let's just say we're in the key of D minor, and we're playing these chords. Now, how do we play these chords? We will play a fourth string or page here, okay, which means on the D minor seven, you're going to start on the a string and play for strings in a row. So a string, this string, string, string, okay? You can play this either finger picking or where the pig. So playing an RPG with the pig, that's up to you. I will start by showing you finger picking, but obviously feel free to try with a peak as well. Right? So what I'm playing really is for strings for the D minor seven, G and B, then for strings for the a minus seven, so the E string skip the a. So this time they're not for strings in a row. And then I play the G and D. I do exactly the same pattern for the G minor seven, and then back to minus seven. And again, we will explain even something more about the timing, talking about the field, what it's called the 16th note, R&B field, which is a little laid back. Okay, and we will explain what that means. But for now, let's just say that we play four nodes for each of these chords. Each of these are pages reading. And then at the end of the fourth note, you want to kinda like stop the sound. Okay? How do I stop the sound? Well, we could play some percussions and slabs and things like that. But effectively, all I'm doing, I'm putting my fingers gently on top of the strings again to interrupt the sound. Okay? That's all I'm doing. Okay, and I'm doing this for all of the chords. Now when we play four notes per beat, we count them as 16, okay? So we say 110, okay, within each beat. Then obviously the bit number two is where I stop the sound and take a little break. Then the beat number three is where I play the second chord. And beat number four, I take another break. So I can say that beak number one is simply this bit. Number two is the break beat number three. Beat number four is the break. G minus seven would be the big number one of the following bar. Right? Compete number two, a minus seven, Number three, and a break on beat number four. Okay, now let's do the same thing with a pic. Okay? So no finger picking the notes that we played, the strings that we play are exactly the same. So we just use the pig rather than the fingers. Okay, so that's exactly the same as what we played previously with the fingers. And for both the version with a pig and with the fingers. I was also an eating playing the minor seven chord positions with the root on the e, either as a bar or as their new position that we introduced previously. So sometimes you saw me playing an a minus seven like this, and sometimes an a minor seven like this. Same for the G minus seven to be fair. And even now that I was playing with a pig, I was always stopping the sound at the end of the arpeggio. This time using my right hand or pen, I guess with my fingers to gently go on top of the strings and stop the sound. Okay, without creating any percussion for now. 4. Dominant 7th chords: Hey guys, it's now time to introduce another core type. And we're talking about dominant seventh chords now. Now the dominant seven chords are another type of really common chords in all genres and also in R&D and neo soul. Okay, so let's start by saying that you make a dominant seven chord using a major triad, root, major third, and perfect fifth, adding the minus seven. And the function of these codes is really to create tension. We can think of any chord progression as a game of tension and resolution. And the tension is usually coming from a dominant seventh chord. So let's have a look at a few chord positions. One chord position will be with the root on the a string. For instance, we can learn there's seven dominant, okay? Now the E dominant seven chord is made by the nodes E, G-sharp, B, and D. Okay? But when you play this chord position here with the root on the seventh fret, second finger, little finger. And first, you don't have the note B, so we are already into what we call an omit five position. Okay, now, don't get scared. Omit five positions are actually pretty common, okay? And in fact, this code is coming from the caged system and particularly from a C7 chord, which you can play here in open position. So using open strings, now, there's C7 shape. When you move the root from the note C, note E becomes and E7. Okay? What is really important is that when you move this code position because you don't have any bar. You don't want to have any open string either. So when you play these seven like this, the first string is muted and the top string is muted as well. So what you're playing really is just the force and second strings, okay? Now, when you play an E7, If you also play this string, it's actually fine because that's another E, So you're playing the root. But as always, we want the position that we can move around wherever we like, okay? So the T7 can be played here, but with the same shape. You can play a D7, okay? Or any other dominant seven chord you need. Now this is not the only position that we'll look at with the root note on the a string. So instead of using a C-shaped like a C7, we can also use an A7. Shapes are coming from a family of the cage system. So if we look at the eNode on the seventh fret of the a string, if we borrow it, this time like this, we can use another couple of fingers to actually play an A7 shape. And this will be a nice seven chord in a shape. So both this position and this E7, but this is a C shape of the cage. This is a main shape of the cage. The root is the same here on the a string. Now, personally, I don't like this one very much. We might find it from time to time. It's sometimes useful to get a SAS code and things like that, but I don't find it very nice in terms of voicing. So it's more likely that when we have to play dominant seven chords with the root on the a, I will actually be using this kind of C-shape, okay? But what if we want to learn a dominant seven chord which actually has the root on the E string. Okay, So we will have to refer to the shape of the caged. Well, for example, we can play an A7 and one A7 position that I'm sure most of you already know is this. This is a bar followed by a nice seven shapes. So that means now I'm looking at how you play a nice seven in open strings. Using open strings, I mean, in open position like that. And then what you do is borrowing the fifth fret because we know the hair. We've got the a with bar this section. And then with the other two fingers, I'm basically playing and E7 shape. Again. This is one way of playing the A7 with the root on Fred five of the string, okay? And it's definitely a bar position, barcode position coming from the shake. Now, another position that we can play very similar to this really is something similar to what we did with the minor seven chord. So this time I'm not using any shape of the caged system or at least not strictly. And what I'm looking at this, this position here where there is no bar and only four strings are actually played. Okay, There is no way spring and naught E string, so the fifth and the first are actually muted. Then all I'm doing is playing the root hair with the first finger, skipping one string. Like we said, second finger goes on the same fret, just two strings below on the D string. Then the ring finger goes another two strings below, okay, on the same fret. And my little finger will play the major third of the chord on Friday. This time of the G string like this. When you play this again, because those two strings are muted and you have no open strings, then you can move it around wherever you like it, as if it was a bucket. Okay. So literally like you do with this position, okay? So what's the difference really between playing a chord like this? A chord like this? Well, obviously this kind of position is actually included here. The difference is when you play this, you only play those four nodes, then make a dominant seven chord root, third, fifth, seventh. So you don't repeat any of these nodes twice in the code like you do for instance here, okay? Just think about this, which is an a, and this is another a. So you don't play this twice when you play something like this. Okay? There's applies to other chord types like minus seventh and also major seven chord, but we'll see that later. Now let's recap the dominant seven chord positions that we looked at route on the a string. The example was an A7 chord, and this was the root. C-shaped would get you this E7 called position. A shape would get you to A7 chord position. When we look at a dominant seven chord with a root on the E string, the example is a, A7 chord. Well, we can play either a barcode in a shape like this, or you can play this other position which doesn't repeat any of the notes of the chord twice. 5. Chord progression with Dominant 7 chords: Okay, Now it's time to add the dominant seven chord to the chord progression that we learned previously. We can still start from D minus seven and move to an a minus seven. Either blade like this or like this. I live this up to you. And then you can add a dominant seven chord. Precisely. We're going to play a knee seven chord. And we're going to use the C-shape that we discussed previously. When you played the E7, the four strings that you are going to play in your page, you are detained. Me. A nice string like that. Then you come back to a minus seven. The concept is always the same. You play for strings. Okay, for now it's in your page, you're on each of these codes and then you take a bit of break, bit of rest. Right? Now this time we are not in the key of D minor anymore. The key here is a minor. What you're playing is a force. Moving to the one minor, a minor. Then adding a chord, dominant seven chord, which we will discuss later for the theory because this will be quite of an important topic to see together. But this is basically the 57 in the key of E minor, and then mark the one-liner, which is a minor. Okay, So let's listen how this sounds like using the pig first. Now with the fingers. Again, guys, completely up to you whether you want to give it a go with a pig or with the fingers. I always suggest to do both if possible. Okay, now I just want to briefly mention that we can play both chord progressions that we introduced so far with minus seven chords and also with one dominant seven chord, not just using the pig and the fingers separately, but actually using them simultaneously. This is known as hybrid picking because effectively you're using both the pig and the fingers. Now, the notes that you play and the strings that you pluck are exactly the same in your pages. The difference is you'll be playing two notes with your pick. The first two notes, for instance, on the D minus 70, a string and the string, and then two more nodes. The next two notes on the G and B strings will be played with your fingers, with your middle finger and ring finger, more likely. Okay. So that you get days or page on the D minor seven, right? On the a minus 70 would be the same. The pig place the sixth and the fourth, and then burden second with the fingers. Same on the G minor seven, or same thing on the E7, depending on which call to rush in your plane. Let's look at the first chord progression, only minor seven chord hybrid picking now. And now the second chord progression still a hybrid picking. If you've never tried this technique before, I give it a go slowly, but makes sure to practice it because it's really a very helpful technique and I really love it and I use it as much as I can. 6. Maj7th chords: Now guys, it's time to introduce another core tight. And we're going to talk about major seventh chords, okay? We're going to have a look at a few core positions as always, but this is also a very important lesson because we will start introducing embellishments. Some of those very unique embellishments typical of RMB and Neil saw guitar. The major seven chords are made by, again a major triad, root, major third, perfect fifth. But this time we also have a major seventh added on top of the major triad. That's the actual reason why these codes are called major seventh. So if we're looking at a C major seven chord, the nodes that we've got, our C, G. Okay? Now, as always, let's have a look at a few chord positions that we'll be using in this course. The first chord position will have the root node on the a string. Let's get the on the eighth fret of the a string as our wrote, as our example for this code possession ever going to be playing this corner here. Now, how is this coordinate? Okay? First of all, which knows that you have in an F major seven, F, a, C, E, Okay? Now, what is important to say is that here you're going to play your bar of five strengths that we discussed previously in other chord positions. But we're also going to have these three fingers playing this kind of shape. And there's can't really from an a major seven. So once more, we're going to use the shape of the caged like that. But it's actually up to you if you want to play a bar, it really depends on how you are going to play this chord. Now, very often you're going to use embellishments on the first two strings, E and B. Using, for instance, how neurons and pull off some, we're going to see them in a minute. When you do that, it might be helpful having the bar down. But if you don't like to play it as a barcode, you can actually use the first finger only to play the root. And then having these three fingers to play the rest of the chord and simply don't play the first string. Now if you don't play the first string, or if you mutate. In both cases, you're not going to be using a bar. You're only going to be using this to play the a string. The only other thing to mention is that we still want to mute the E string on top, so the low E string. And to do so, again, you're gonna be doing this with a fingertip, your index. Like them. Okay? Now, this is one way of playing this code. Another way of playing major seven chord is definitely by using the root on the E string. So why don't we look at a C major seven with a root hair fret of the E string. Now the position that we'll be using for this course. Okay, so what we're gonna do is play the root with the first finger, skip one strength the a string, and then play this which is really similar to an a minor or in general a minor triad, basically when you play 342 here. And also the first string is muted as well. So the a and the first sort of a and the E, the fifth and the first strings are muted when you play this. Okay? Now both these two positions are not omit five. We don't skip any note of the chord, and for now that's all we need for major seven chords, we will be talking about variations of major seven chord. So adding extensions, for instance, and similar chords, two major sevenths like 669, but we'd be talking about that later on in the course. What is really important now is having a look at our first embellishment to play R&B and neo soul guitar. And this is because we're going to use it in the example, in the chord progression that we'll be using as an example to use together major seven, dominant seven chord, a minor seven chords. Okay? Now, let's play this F major seven. What we want to play here is again on our page, film made by four strings. And these strings are G and B. Rather than just playing this note on the B string will be actually doing a homerun of this little fingers. So why are you here first? Is the note played by the bar. That's why we do need a bar sometimes because we want to play homeruns. In this case, the note that you get here is the note G. The note G is the second-degree of this F major seven. So what you do really when you play that could be like an F major seven, so stew or an F Major nine depending on how you want to name it. But what you're going to do is harm around the little finger on Friday ten, where you've got the major third immediately after you play that second strand. For this reason, we're not really going to say like, Oh, this has a value of 1 16th, 132nd, 1 eighth note, anything like that? Because this is what we call a grace note. Okay? A grace note is when you play an embellishment that immediately moves to the node that you want to hear, which is this. But just before hitting that note, you're going to hear another one, like an embellishment like that. Okay. You have to be quick and you have to be strong enough with your little finger to make sure you do this kind of thing. We'll be playing exercises on, hammer on, and pull off throughout the entire course. But this is the first time that we really find the hammer on foreign embellishment. 7. Chord progression with Maj7 chords: Right, and now let's get into the core progression that will put together major seven or dominant seven and minus seven chords. Let's have a look at the positions first. The first position is a major seven chord, F major seven that we just learned and we just discussed, then we'll be playing C shape, okay, we now know what that means. We did talk about it previously. Then the a minus seven, okay, for instance, like that. But obviously, you can also play it like this. Again, we're not going to say right now why exactly we use these numbers, but because we are in the key of a minor, we also numbered these codes are six major seven, major seven obviously because the chord is major seven. But flux six because this will be the sixth degree of a minor key and likely will see later on, the sixth degree of a minor key will always be flat. Not because the note, the role that you play is flat. The F is clearly a natural note. But because every minor scale, every minor key has a minor sixth degree. And the symbol we use in music for that is the flat. So we call it flat six, major seven. This is both whether you use roman numerals that we will be introducing in a minute, or Arabic numbers, the normal numbers that you can find, for instance, in the Nashville music system. That being said, let's listen to that F major seven. We are using the embellishments that we introduced. Then we move to E7, arpeggiating the same strings. And then a minus seven playing still four strings like before, the E, skipping the first second. Okay, So, so what is the difference between this chord progression and the previous chord progressions we played. This time after playing the four nodes of your pages, of the singular pages, we don't stop the sound, will let them ring, okay, throughout the next beat. So if you count one and then the two will not be arrest, but will be just, let's listen to the sound of these nodes bringing, okay? Same here, three, right? And same here, but we have to play the a minus seven twice to fill the entire second bar, okay? So 12312, Three and up. And because you can play the minus 749 and like this or like this, I've played them in both ways. Okay. So let's listen to it one last time. 8. Chords in Major and Minor Keys : Okay guys, so now it's time to get even more into music theory because this is going to help us understanding and learning more advanced chords and chord progression. Now, although this is not a music theory course, we'll have a quick look at which codes you find in a major ending a minor key. And we'll be doing this using the harmonized skills. So the harmonized major scale and the harmonized minus kill the natural minor scales. So for instance, if we're in the key of C major, the major scale is C. C, Okay, following obviously the formula. Tone, tone, semitone, semitone, okay? Or full step, whole step, half step. Okay? Now harmonizing by thirds these nodes, you get a bunch of cores. You get seven chords, one for each degree of the scale. We can do this in triads. We can do this with seven chords. And particularly because we said in neo soul and RMB, we use a lot of seven chords. Will be having a look at what seven chords you get in major keys and minor keys, okay? So the C major scale, when harmonized, gives you a C Major seven on the first-degree. A D minus seven on the second degree, an e minus seven on the third degree. And F major seven on the forum. A G7 on the fifth, minus seven on the sixth, and a B half-diminished, or minus seven plus five on the seventh degree. Now, if we do the same on a minor scale, and for the sake of this example, we'll be using the relative minor scales. So a natural minor scale, the, a natural minor scale is the relative minor of C major. So it's made by the same note just starting from a. So these nodes are a, B, C, D, E, F, G to a series of intervals. This time, S tone, semi-tone, tone, tone, semitone. Or a whole step, half or more. Okay? And the courts that you get when you harmonize this scale are obviously the same as C major, but again in a different order. So the one is now Va minus seven, which used to be the six, but it's now the first degree in case. So a minus seven is the first quarter you get harmonizing the a natural minor scale. The second chord is the B half-diminished, which used to be the seventh in C major. It's now the second. And the C major seven, which used to be the one. It's now the third corner you get and carry on with the minus seven as a four. Minus seven is five. F major seven as a six, and G7 as a seven. Now these are the seven chords that you get harmonizing the C major scale and the a natural minor scales. What we learned just now is something that you can apply to all other keys. So having a look at a general reference which applies to all keys, you will find that the first degree will always be major seven when you are in a major key. The second degree minus seven, the third minus seven as well. The fourth major seven, the fifth dominant seven, the six minus seven, and the seventh half-diminished. Okay? So with that in mind, we can remember it even in a different way. We can remember that major seven chord happens to be on the one. For the minor seven chord happens to be on the three six minor, that the dominant seven chord happens to be on the fifth degree and the half-diminished happens to be on the seventh degree. If we look at the same thing from a minor perspective, we can say that we've got a minor seven chord on the one minor, on the fourth and the fifth minor, we do have a major seven chord on the third green and on the sixth degree. And we have a dominant seven chord on the seventh degree, and also a minor seven flat five on the second degree. So it's basically the same thing like we said, in a different order. Now this doesn't mean that we won't find cord which are not diatonic so that they don't appear when you harmonize these two scales. But when will find them in our chord progressions? To learn RMB and neo soul acoustic guitar, we'll explain them as chord substitutions, external chord, secondary dominant, model interchanges and so on. So we'll discuss the single external cords when we find them. But as a general rule of thumb, if we know these seven chords in major and minor case, we should get a better understanding of all of the chord progressions that we're going to play. Now in the next lesson, we'll also learn something about the coordinate numbers, which are really helpful if you are jamming with somebody or if you really want to understand when somebody refers to chord as numbers. 9. Chord numbers (Roman Numerals and Nashville Number System) : Okay, So if everything makes sense in terms of chords that you find in major and minor keys, it's now time to refer to these chords with numbers, okay? This is actually extremely important because when you chat with somebody, it might happen that somebody refers to the chord as numbers. And they say things like, Let's Play a one minor for minor five minor, or let's play a flat six major 757 and things like that. Okay, so having a good understanding of the coordinate numbers will make your life easier and also will allow you to understand even more the code analysis. When you have a code which doesn't belong to the harmonization of the major and minor scales that we did in the previous video. So all of the chords that you find in the harmonized major scale can be referred as 1234567, like the notes that you're using, the C major scale. If we say that the C major scale, C, D, E, F, G, a, B, C is made by these nodes. We can also look at these nodes as 1234567 and back to the one. These are also known as scale degrees. Well, even the chords that you get from the scale degrees can be referred to as numbers, literally the same numbers, 1234567. And because the major scale is only made by major and perfect intervals, so there are no minor or diminished intervals. You don't need anything else other than the number of that chord followed by the type of corner you're going to be playing. So what that means is that we'll be calling that C major 17 minus 17 minus seven, F major seven, etc, that we found in the previous lesson. We'll be calling them with numbers one to seven. And when the chord is major will be using the capital letters, and when the cord is minor will be using lowercase. Now, together with this, we also need to specify if we talk about seven chords, what kind of seventh chord you get. So if for instance you get to major seven chord on the first degree, you will have to use the one in capital letters because the chord is major, followed by major seven to specify that the coder you get is a major seven. If you were just referring to a C major triad, you wouldn't need that. The only thing you would need would be religiously just the one in capital letters. But because we decided to talk about seven chords will also need to specify something about the seventh. Okay, So going back to the seven courses that we got, we basically use the one in Roman numerals because generally we refer to cause in Roman numerals in capital letters followed by major seven. The two and the three, which are two minor seven chords, will be using the 23 in Roman numerals in lowercase, followed by the minus 7th indication. Okay? The form is a major seven, so again it will be in capital letters and followed by major seven. The five is a dominant seven chord. So even in this instance, you will use a five in uppercase or capital letters, followed by only the number seven, because that's the symbol for a dominant seventh chord. The six is a minor seven chord. So what you're gonna do is using the six in lowercase, followed by minus seven. And then for the seventh degree, choose a minor seven flat five, or half-diminished. You're gonna be using the seven again in lowercase, followed by minus seven flat five. Okay, so to recap, we have a one major seven minor 73 minus 74, major 75, dominant 76, minus 77, half-diminished or minus seven flat five. Okay, Now these are the coordinate numbers for the major keys using the Roman numerals. There is also another system known as the Nashville chord number system, which is obviously very popular in Nashville among session players. In that case, all the changes that you'll be using Arabic numbers. So the normal numbers that we use on a daily basis, instead of the Roman numerals for the chords, one to seven for the coordinate numbers one to seven. And when the cord is minor, you will use the minus symbol, or a lowercase m to say minus. So every time you find the number of the coordinate by itself, that will be a major chord. And if you obviously use the seventh, like we've been doing together today, while you're still going to have to specify what kind of seventh you find. So you'll be using the one Arabic number followed by major seven, two minor, which will be to Arabic number again, followed by minus seven. In this case, same for the three. The four would be like the one. So four major seven, the five would be dominant seven. So the number five followed by seven, and then the six will be minus seven, so same as 23 and the seven minor seven flat five. Okay, we can now look at the coordinate numbers in the minor keys. Now, the scale that we'll be using the a natural minor scale as an example. It's still made by seven notes that we can call 1234567 and back to one. Because of the different series of intervals, each natural minor scale actually has three degrees, three scale degrees, the third, the sixth, and the seventh, which are minor. So we say, we've got the root, the major seconds of nothing to say about the second. It's the same as the major scale, but then we've got a minor third, which is obvious because we're talking about a minor scale than the perfect fourths and perfect fifths are literally the same kind of interval that you found in a major scale. But then we go the minus six, minus seven. So three nodes will be in the scale with a flat symbol, not because the actual notes are flat. They could, for instance, be natural notes like in the key of a minor, but just because the interval is minor. So that is something that we need to keep in mind even when we assign numbers to the chords that you find in the Harmonized a natural minor scale. So the first-degree, which was an a minus seven, will only have the one in Roman numerals in lowercase followed by minus seven. The two, which was a minor seven flat five will be again in lowercase, followed by minus seven flat five. But here the things become interesting when we do the C major seven. This is the third chord. It's a major chord. So you're gonna be using the three in capital letters, but because it's based on the minor third degree of the scale, will be using the flat just before the number three in Roman numerals, the three stays in uppercase because it's a major chord, but we need the flat because of the flux three minor third interval that you find in the scale. Okay? Because we are also playing it with seventh, will be doing flat, followed by the three in uppercase and major seven. To explain that we find a major seventh in this code. When we move to the four and the five which are perfect intervals, you'll be just using a 45 in a lowercase followed by minus seven. So four minus 75 minus seven. But again, the sixth degree is a minor interval. We said it's a major seven chord or you find here. So you're gonna be using the six in capital letters again, followed by the major seven. But before the fixing capital letters major seven, you need to put another flat to say that it's the minus six degree that when harmonized, gives you a major seventh chord. The same thing will apply to the seventh degree of the scale. This is a minus seventh degree of the node G, for instance, in a minor. And what you find here is a dominant seven chord. So you're gonna be using the seven for the seventh degree in capital letters, followed by the symbol seven, which is the symbol we use for dominant seven chord. But before the 70 Roman numerals, you will also need a flat, okay? Because that's the minus seventh degree that you are harmonizing and it gives you a dominant seventh chord, a flat seven, dominant seven. Okay? So to recap, we find the one minus seven, the two minor seven flat five, the flat three major seven, the four minus 75, minus seven, plus six major seven, the flat seven, dominant seven. Hopefully you guys, this makes sense. And as always, we'll be referring to these numbers in the chord progressions in major and minor keys that we'll be looking at in this course. But from time to time, we will find non diatonic chords. And in that case, we will explain where they come from, whether they are a core substitution, a modal interchange, and so on. 10. Maj7 and Min7 chord progression. First embellishment: Okay guys, and now it's time to look into another chord progression. That's fine. Knowing more about keys and numbers will be using major seventh and minus seven chords. And we'll be staying in the key of C major to keep things as simple as possible in this phase. So the core is or will be using will be the F major seven, the E minor seven minus seven, and C Major seven. These are all cores that we explained previously in this course, and they are the fourth, the green major seven in the key of C major. The three minus seven, the two minor seven, the one major seven. So these are basically the first four cores the you find when you harmonize the C major scale, just played backwards starting from the fourth until the first one. Okay? Now the technique that we'll be using is quite interesting here because we'll be playing this finger picking and we'll start introducing percussions as well. So what you do really is plucking for strings, the usual for strengths, the fifth, fourth, third, second for all of the chords simultaneously, okay? Followed by a percussion with your right hand. So this time, in order to stop the sound of the chord and create an interruption, create a rest. We're gonna be doing a slap per caching. Okay, So you will use either all of your hand or even just your thumb to basically create a percussion on the beats 24. Because what happens on acoustic guitar, not only on R&B and new sober, often in our ambient neo soul, is that you want to imitate with your right hand on the acoustic guitar, the sound of the snare of the drums, which usually plays on 24. So we'll be doing something like this. On the F major seven, you will start by plugging the fourth strings. Very slow, so you don't want them all at once. But you slowly go from the thumb to your ring finger, thumb, index, middle, and ring. Like that while you simultaneously play the embellishment we explained previously in this course, which will be the little finger playing the hammer on between the eighth and the tenth fret on the B string. And this gives you that second-degree old knife moving into the major third, like that. Okay. Then you'll be playing with the ring finger, the second string again on its own, and it's only one string that you play chess before the first percussion on the bit number two. Now, when is it timing wise that you hit that be screen? You do so on the fourth 16th. So we are in 16s and we're counting wanting and okay. But obviously when we say one there is that grace note that we discussed. Okay. Like that just before you hit the percussion on the bit number two. So wanting to know after the percussion, you'll be plucking the strings on the offbeat number two, like that. And then you don't play anything on three, you let it ring and on the beat, number four, you will hit another percussion again. So 1234, like that, and you repeat the same rhythm for all of the other courts. But there is one thing which is actually different depending on whether you play a major seven, minor seven chord. So the embellishment that we introduced on that string only applies to the two major seven chords that we've got. So many F major seven. And under C major seven, for e minus seven, and for the D minor seven, you won't play any embellishment just yet. But what you do instead is that after you pluck the strings simultaneously, you repeat three strings before the first percussion rather than one. So you go like, let's repeat the timing for days. So 12341234. Okay, so let's listen to the core progression altogether. I like we explained, we're in the key of C major playing for major 73 minus seven to minus 71 major seven. So if you like this chord progression and maybe it reminds you of some hit songs currently on the charts. You can give it a go and move it to other keys. You might want to practice this. 11. ii V I major: Right, So speaking of chord progressions, one of the most important chord progressions is known as the 251 because we've now explained the code numbers. We now know that that means that we're gonna be using the second, the fifth, and the first degree that you find in a major or in a minor key. And although we'll be looking at both the 251 major and the 251 minor in this course. We'll be starting now from the 251 major. We'll be choosing a fairly popular key to play on guitar, which is the key of G major. So the second degree when you play a 251 in G major would be an a minus seven. Likely explained, will be using seventh chord rather than just try it, then the five will be a dominant seventh, and that's the D7, and the one is the G major seven. Okay? So these are all chords in terms of shapes and chord types that we already looked into in this course. So again, minus seven, D7, G major seven. This is going to be an interesting lesson because we'll be learning a chord progression we were learning and R&B and Neil, slow groove and easy one using a 251 major and G major. So I will be also looking at a more beginner option so that even the most beginners of you can actually practice a 251 major in G major, even if you don't know how to play finger picking. But we'll be also looking at a more advanced way to play the 251 major. For those of you who might be more advanced and more experienced on the finger picking. So we'll be using a more difficult right-hand pattern with more at percussions, with more single strings are pages and plucking at the same time. So the 251 and G major sounds like this. Right? So fairly simple, but let's not underestimate it because I cannot stress enough the 251 chord progression. It's such an important chord progressions, such a popular chord progression for all styles, they are into more jazzy sounds and obviously R&B and news or are indeed into more jazzy sounds. Okay, so what I was playing really was literally one bar on the a minor seven with a similar pattern to what we already learned in this course. So I was packing for strings and then blocking another three on the fourth 16th before using a percussion on twos. It was 12. Okay, then what do we do? We actually plot all of the four strings on the offbeat number two and then another percussion four. So 1234, so that you can practice your percussions, practice your plucking, finger picking, and practice your code positions. You can use this code position or this one, as we know, every time you play a minor seven chord, in this case, I liked this option because somehow it makes me feel more comfortable when then I have to move into the D7, but it's obviously up to you. Now. Which strings are my actually plucking with my thumb, index, middle, and ring finger. Well, I'm plucking the six for the root and that's with my thumb, of course. Then I'm skipping the a and I'm plucking the G and B strings with index, middle, and ring fingers, so like that. Okay, when I moved to D7, I'll do the same pattern. I play the same pattern, but starting from the a string because the root is here and I don't have to skip any string. So I'll be using the fifth, fourth, third, second. So I'll be doing literally the same pattern. And then on G major seven, the strings are against six for that. And second, I'll be playing two bars of G major seven, and I'll be doing this, right, So now it's time to listen to the whole 251 and G major with this pattern. Okay, and now, as I promised, let's look into a more beginner version of the same chord progression. So you can actually play the a minus seven, has an open chord like this, literally just using two fingers. You can play a D Seven, Keeping the first finger where it tastes plane. So again, using the open D string and then just three fingers to get your D7 in the open position. And therefore the G major seven, what I would suggest is first, give it a go with this position. So do you can actually practice this major seven position that we discussed. But if you also want to have a more open strings sound might blend better with the other two positions. You can look into this chord position. Okay? This is just the G major seven open position. Okay, so I'm using the g here and I'm using my ring finger here. And then we just seven. The F sharp is here, like this. Okay? Now, how can you play this? First of all, I would say let's make it really began a friendly, so no finger picking, use the pig. And what you can do is, so all I'm doing really is playing a free string, RPG or single strings, for instance, on the a minor seven. Now scrub, okay, this should be played on 23 or even four strings. I live this completely up to you and altogether will sound. I think of it in 16th onto, I don't play any precautions. So you just let the chord ring than 34 would be your D7. Okay, so all I do, I start my or pages from the D string, so I played and the upstroke, okay, and then I play the G major seven like this. So doing sixth, Morton and spring before playing the upstroke. And then when I switch to this one, I do six the third, second, and then the upstrokes. So Let's listen to it all together. This is a more beginner version. No finger picking, no precautions. Okay. So I don't mind it at all. It actually sounds really groovy and it's fairly simple to play, right? But now let's go back to finger picking and let's have a look at a more complicated, the more advanced finger picking pattern. Okay, so we can play something like this. So what is going on in their spots and well, the cores are obviously the same, but I'm basically plucking for single strings first, before the first percussion, followed by the base on its own, and the plaque of the upper part. So the three, the three other thing is the three other strings that are using this code on their own. Okay, So, so one e and that took me, okay, then three is empty. Then I repeat the base again on the bit number three, I play a single string, the B3 with my ring finger. Before hitting the percussion on the bit number four, followed by two more sounds, one on the G string and one on the base. The one on the G string, depending on the corner you're playing, you guys can actually change it. You can play the D string as well as the G string. That's completely up to you, as long as it's only one string before you repeat the base. Okay, So 123. Okay, You want to get that four. Let's do it even slower. One. And then you repeat the same here, but obviously changing the string so one can drink. And I'm still using the G string before repeating the base at the end. And then the same on the G major seven. Feel free to change that string that we mentioned. Like I did now, switching to the D string before repeating the base one last time. Okay, so altogether slowly. Now, pretty much the temperature was playing before. 12. Extended chords: Min9, Maj9 and more: Alright guys, so now in order to learn even more R&D and Neil saw chord progressions that we can play on acoustic guitar will have to introduce something more about forward extensions. So you know, when you find mine and nine major 13 dominant seventh chords and so on. So basically the use of the numbers 911 thirteenths, but also another category of codes called 69 chords, which are more similar to major seventh chords. Again, we won't have the chance to go too deep into all of the chord positions that you can possibly play when you extend seventh chords to 91113. But we'll be looking at some very important core positions which happened to be played very often in this style. And we'll see how these actually can transform a chord progressions that we already learned, right? So let's start from a minor seven chord. For the sake of this example, I'll be using a D minor seven chord, which would play quite a few times already. Now, what we want to do here is basically extending this minus seventh chord to the next node above the seventh, which you find when you harmonize the scale this code is coming from, and I'm referring to the ninth degree, which is the note E. When you harmonize a D minus seven, you'll get this possession, okay, which has several flavors to me. It's definitely more jazzy. It's definitely more R&B. And it's definitely also more Brazilian bossa nova. Okay? It just depends on how you play it. Okay? Now when you play it, like we are right now with the second finger playing the root here. The minor third moves on the D string fret number three, and then you've got minus seventh and major nine. This is a new mate five position because you have no fifth, you could potentially play that fifth here and get something like this. Okay, it's another nice way of playing this course, so feel free to try it. But for the sake of this lesson will be only looking at this omit five positions. So 1379, there is no fifth in here. So we started from a D minus seven and we got now the D minor nine. Then the next quarter I want to talk about is a major seven chord. And for the sake of this example, I'll be using a C major seven chord. Okay? What we want to do here is, first of all, adding the ninth today scored. So get something similar to what we did to the d minus seven. And this is the position that we get. This is a C Major nine, which simply means a C Major seven, extended to the night. When you play something like this, you're voicing is a major third, major seven, major nine. So again, there is no fifth, so this is another omitted by possession. Again, you could potentially play the fifth here, but it's not the most comfortable position to play. Now, this is a C Major nine, but it won't be the only way to extend or change. The voicing of a C Major seven will be actually looking into one more embellishment, really typical of jazz and R&B guitar. And this embellishment this time happens on the G string, while previously still major seven chord, we learned a hammer on embellishment, which happens to be on the B string this side. The hammer on happens to be so with the little finger that it's on the G string. Which degree do we actually move to the major seventh that we've got here? It's the major sixth. So we are playing the major sixth degree and we are hammering on the little finger to actually replace the major sixth, major seventh. So for that tiny moment where we don't hear the sound of the major seven chord. We're not playing a major nine code anymore. We're actually playing as 69 chord, which simply means that compared to that Major nine chord that we talked about, we are now not played seven to the major seventh degree and we are actually playing the major six. So the new voice engagement root major, third, major six, major 91369, as opposed to 1379. Okay, still, both positions are omit five, but it's really nice to hear that humming around, which goes from the sixth to the seventh. Okay? So in this way, we started from a C Major seven and we got a 669, which again could also have a Brazilian flavor. Again, it depends on how you play it. And then that C Major nine, like that. Now one last quarter we need to look into in order to extend it, but also change a little bit something into the trials within the cord is the G dominant seventh chord. Okay, now what are we going to do here? We're going to make this course more modern and more RMB, okay? And the way we do this is replacing the G7. You can play in a few different positions with this here. Now, what is this code here? Technically, this is an F major triad, which I'm sure most of you already know. With a G note on the base, f over g, you can write this down with a slash for that reason, these are also called slash chord or simply inversions. However, the note G that you put on the base doesn't belong to the effort. It will be the second degree of f. And we usually don't have the second degree of a chord on the base, or at least we can look into this chord from a different perspective. So thinking about the note on the base g as the actual root, and understanding that the function of this chord is still a dominant function, so it hasn't changed the nature, the flavor of this cord. Okay? And what notes that we actually have in this code if we look at it from a general perspective, well, gee, obviously is the root. Then you skip the a string. You play the note F on the D string, which is the minus seven, which again, it's a note that you find in the G7 chord. Then we've got the nerve. Now the a is the second degree. So we can think of this as an extension as the major ninth degree, which is basically what we were adding, D minor seven and also to the C major seven before. And then the last node is really interesting because it's a C, which is the fourth degree. And we generally don't have the fourth degree, but you can have the fourth degree when you don't have the major third in a dominant seven chord. And anytime you play a major triad guys, where you replace the third with the fourth, you get what we call a sus4 chord. Sus4 code is a triad where instead of finding the third, which will tell you whether the chord is major or minor. You actually find the fourth degree or the second if you are referring to a SAS to, but for the sake of this example, it's the fourth, the grid perfect fourth, which will replace the major third of a G7, and we'll give you a G7, sus4. However, because we said that we also had the nine, this is a G7 sus4 extended to the ninth. And for this reason we call this a G9, sus4. Particularly, we haven't found any d, So any perfect fifth. The voicing here is 1724. If we look at 147, that's basically a dominant seven. Sus4 omit five, because we also add the nine, this becomes a dominant seventh, sus four, nine, okay? That's why we call it a G sus4. The function is still the function of a G7, still a dominant seven chord extended to the ninth, but we replace the third with the fourth, okay? And we make it SAS because of that up to you, whether you want to call it f over g or g 94, that's completely up to you. Some people also call this a g 11. Now I don't really agree 100 per cent we're calling this 11th because when you just say 11th, you don't specify that you don't have the third. And if you had the third and the fourth or 11th together in the same coding might be dissonant. Ok, so I don't really like saying g 11, but if you happen to find g 11 written somewhere online, you might think that that's what they actually meant. They invent a G9, sus4 or f over g. So to recap this last chord, we changed the G7 into a G9 sus4, which is actually the same as f over g. 13. ii V I with extensions + first melody: Okay, and now it's time to see how using these courts can really change the flavor of a chord progression that we just learned, which was the 251 in a major key. But this time we're going to look at the 251 in the key of C major. So the two will be a d minus seven. The five will be at G7, and the one will be C major seven. So we can actually use all of the embellishments and extensions that we just learned for these three chords and get something like this. So all I'm doing, I'm using the name mine and nine, replacing the d minus 72, I'm using a G9, sus4 or F or G to replace the G7. And in order to replace the C major seven, I'm playing that hammer on embellishment between a C6 nine and a C Major nine. In terms of techniques, I'm using the pick this time, so no finger picking. And I'm trying to get that RMB vibe, strumming, something like so down, then up on a few strings and then percussion wonky and not to, okay. Before playing one more downstroke on the offbeat number two, as we're used to from other patterns that we've learned in this course. That on four, It's up to you whether you want to play another precaution or gently stop the sound of the strings moving on to the next chord and play the same pattern. However, on this quarter was also playing a melody, introducing our first tiny melody to connect some of the chords that we've got in this chord progression. And now the melody, I'm using stars on the highest note. You play on this G9 sense for the note C. And all I'm doing really is just playing. So three notes of the C major scale, because we are in C major, this is a 251 in C major. I'm playing C, D, E, and then go into my one, which is the C major seven, replaced now by a 69 hammering on the little finger to make it a C Major nine. So on the G9, sus4, I'm strumming the downstroke, then the upstroke, stopping it. Another downstroke on the offbeat number two, and then on the bit number four, rather than playing a percussion or gently stopping the sound of the strings, I'm playing this first hammer on between 13 of the B string, C and D slide, that's little finger to Fred five, the note E. And getting this before then approaching the seats 69, which becomes a C Major nine. And I can play this rhythm. So altogether real slow. Even this low, It really sounds R&B and Neo Soren's starts giving you that really cool groove that you get on the acoustic guitar. But let's play a little quicker now. Okay guys, so this is technically a little bit more advanced. You might need a little bit of extra practice, but it's really worth because it will get us closer, play something even more RMB and Neil saw in the next chord progressions. 14. Min7b5 and ii V i minor: Now let's introduce the 251 minor chord progression. And to do so, we will have to talk about the minor seven flat five chord, which is a chord that we mentioned before when we were talking about the harmonization of the major and minor scales. And because we are in a minor key now, the minor seven flat five is a corner you find on the second degree. So that's the code that we'll be using for the two in the 251 minus. So let's assume that we are in the key of C minor. The second degree would be the n on the, we will have to play this D minor seven flat five, also known as half-diminished. It's exactly the same whether you say D minor seven flat five, or the half-diminished, we played with this root node being on the a string. In this case, that's the friend number five. And then we do this fingering 1324, okay, now, won't be playing this D minor seven flat five as the two. What do we play as five? Well, in the key of C minor, we would have a five, which is a minor seven chord, G minus seven. But it's common practice to play the five as a 57, so a dominant seven chord. And this is something that we will discuss even further in the rest of the course when we will touch things like secondary dominant chords. But for now, let's say that we want to play the G7. So the 57 that we already know, it would be the five, even in C major, we basically use the same code even in C minor, although we'll specify a few things in a minute. Okay, so the two chords, the D minor seven flat five, then the 57 is now G7. Where do we go to? We go to the one minus, so we go to C minus seven. Like this. Okay? So what I would like you to practice with these cores in order to master the 251 mine. And it's really just one block of four strings every time you play each of these chords. So get started just by playing. So on the D minor seven flat five, as well as the C minor, the four strings and plucking with my right hand fingers or a, D, G, and B as always, thumb, index, middle, and ring finger. For the G7 because I'm not playing the a, I'm actually plucking E, D, G, and B like this. Okay, so again, my advice is to get started directly with something like rather than playing something longer. Just to get something which sticks to one bar for the entire chord progression when you inevitably start adding something more, the more you play this life. So feel free to play with it. As soon as you realize that the muscle memories there you can play the chord changes. You are comfortable with the plucking of short, short, long, then you can start adding an extra note on the C minus seven because it's a chord which lasts a little longer, or a percussion and go snow, whatever you like reading. 15. Altered dominant 7th chords: Now that we know the two phi one minor, and we've played it in the key of C minor. Let's make it even more jazzy and RMB. So we did talk about this 57 as common practice to replace the minus seven that you will have in a minor key when you harmonize the natural minor scale, you can also think of this chord as borrowed from other minor scales. For example, if you think about the C harmonic minor, melodic minor scales, when you harmonize those scales on the five, you actually find a 57. So it could either be just something that you create as a secondary dominant, as we will explain later. Or you can think of it as a borrowed chord from the c melodic minor and C harmonic minor scales. Okay, however you want to think of it, there is one thing that we need to consider about the 57 in minor keys. It's common practice. It's very often the case of a dominant seven chord all thread really, which is going to the one minus. What does that actually mean? Well, when you have a dominant seventh chord, like our G7 in this example, the notes that you find, we already know that R, G, B, D, and F for the major third and a perfect fifth, because we want to have a major triad at the bottom of this chord. And then F, which is the minus 7th, the grain. We know that this is something that we find in all dominant seven chords. Well, what happens is that you can actually make this quarter, which is already the code that has the tension, the function of create tension, rename. You can give it even more of a tension flavor if you add something like an alteration. Now an alteration means that you are going to use either a flat five or a sharp five, a flat nine, or a sharp nine, okay? Now, depending on where you are playing the song guitar, some alterations might be more comfortable and others might be a little bit more difficult to play. But keep in mind that you can also mix them up in a way that you play two of those at the same time. And sometimes you don't have to play all of the other note of the chord. Okay? So in this way we make some of these voicings, which obviously on the piano would be way more comfortable. We make them doable even on guitar. Now, let's have a look at a couple of these shapes. We don't have to look at all of them right now. We will talk about a few more later on in this course, but let's have a look at what we can do with this G7 position that we used in the 251 minor, in the key of C minor. Well, the first thing that comes on my mind, looking at the highest note that we play, which is the note D. So the perfect fifth of the chord. And I can move this one down and I get a flat five. Like this. There's also has a very much of a Brazilian bossa nova fuel to me or another thing which sounds instead more jazzy and y-naught RMB is taking the perfect fifth, the note D, and raise it to the augmented fifth so that you get a D-sharp like this. Okay? The strings that I'm plucking, or in this case, your page rather than playing involves the same strings we were playing before. So the knee and be, okay, but it definitely has more tension, which sounds really good. You didn't release that tension on the C minor and the one miner anyway. So we've got the root minus seven major third, and then there's sharp five, or augmented fifth. Because we've got this sharp five, this augmented five, what we can say is that this is a G7 sharp five. Nothing wrong if you want to call it this way. But effectively, the major triad that we had at the bottom of a G7. So GBD has now been replaced with a G augmented triad. So G, B, D sharp. And for that reason you can say G plus, because the plus symbol is something that in music we use for the augmented triads. So you can say G plus seven, because the seventh hasn't changed. It's still the minor seventh. G7 sharp five, or G plus seven. Okay, that's exactly the same. Just make sure guys, you don't get confused with G27 plus, which is the wrong way you find sometimes on the Internet to notate a G major seven saying is seven plus almost like raising the seventh from a dominant seven. I get the point of that notation, but really, that's not a correct notation for the major seven. The major seven must be written Major seven, or if you like it, you can use the Delta symbol, the Greek letter for the major seven. But when we talk about a dominant seven chord, G7, and we've got the raised fifth, augmented fifth. We only say G7 sharp five, or G plus seven, and it sounds like there. Right now, would it say the strings of them playing are the same, but what about also playing the first string? What do we have around here on the first spring? Well, we have another of those four possible alterations we mentioned before. And this is an a flat. So this is the minor ninth, the flat nine. So if I Bring my arpeggio up until the first string, I get my G7 sharp five, flat nine now. Okay, now, only a few guys are a little bit more advanced. You might recognize that the bottom four strings I'm playing here actually look like an ad hoc diminished, the minor seven flat five, the code that we explained before in the two of the 251 minor, we played D minor seven flat five. Well, the F minor seven flat five is actually played like this. So you can think of this particular G7 all trade, which is the G7 sharp five flux nine as an F half diminished over g. So with the G on the base, you can even do this fingering if you'd like. Okay, so F minor seven flat five over g actually means a G7 or training sharp five flat nine. Okay, Hopefully you guys, this makes sense, and now why don't we extend this to another ninth, rather than playing this A-Flat, the minor night flatline, We can play an a sharp and the A-Sharp, guess what? It will be the sharp nine. So another of those four alterations that we mentioned. So you can do rather than this, you can actually stretch your little finger on for six of this at first ring and get this one. Okay, like that. This is really jazzy. It does sound good, but it's really jazzy. So if you want to get into a very jazzy sound, sometimes you can just do this, or why not the sharp nine going to the flat nine, things like that. Okay, so when we have an altered dominant seven chord, you can even just say G7 altered. Okay, notating it, I mean as G7 with a L T, the abbreviation for altered, that's absolutely acceptable, that's absolutely fine. And you leave to the player to decide what to play, whether it's a sharp nine of flat nine or a sharp five flat five or any of these alterations combined together like we did here? This fluorescences provide sharp nine, sharp five, flat nine. Okay? So using any of those alterations, okay, now for the sake of our example, to make it even more jazzy, will take these 251 minor in the key of C minor. We'll start again from the D half-diminished minus seven flat five. Then we'll be playing a G7 sharp five. So I'm not playing the first string now I'm stopping it here on the D-sharp, which is the sharp five, like we explained before. And this also creates a movement, right? Because the highest note of this D half-diminished is the note F. The highest note of the G7 sharp five is the note D sharp. Okay, so we go like this. Now if I play just a simple C minus 70 does sound good. Okay, you can do. And you get to 51 minor in a very jazzy and R&B way. However, when we arrange something like a 251 minor, it does make sense to think about, okay, what can we do on that C minus seven? And for instance, I can extend it to the ninth, like we did before, and I can play a C minor nine. Okay, first of all, this sounds amazing, but the other benefit is again, in the melody, the inner melody that you can create in this arrangement, because you can now go from F, which was the note on top of D, to D-sharp, which is the note on top of the G to D, which is now the major nine. So the note on top of this C minor nine chord, okay, let's look at them again. D half-diminished. It has the F as your highest note, this one here. Then the G7 sharp file. It has these sharp as your highest note. And then D minor nine, which has the D, the major knife as its highest note. Okay, so altogether, what we used to play before us, simply like this, now becomes, I'm again, first two chord, short and then longer on the same line. And you see that as soon as you have the cords under your fingers and you've got the right timing. It's inevitable to get into the R&B feel. Playing a little with the length of the cord and maybe even a little bit with caches or pages, things like that. Okay, so very simple. We started from this way, now, made it this. Okay. I also like the minor, Nice very much as the ending of a chord progression. So even if you play something in the key of C minor, ending it on the C minus seven, then the very last time you can make it a C minor nine to sound. Okay, so again, while I started playing around a little with the length of the cord within the same bar. 16. Hammer-ons and Pull-offs exercises: Okay, So speaking about R&D and new solo guitar, one of the most requested topics is actually called embellishments. Now called embellishments means many different things. And even when we simply talk about a staccato. So playing a chord as short rather than long, we are effectively talking about dynamics and called embellishments. The same thing applies to when we talk about chord extensions. The fact that rather than playing a C minus seven, we can play a C minor nine. So extending the C minus seven to the ninth, It is effectively a quote embellishment using an extension above the seventh. Okay, So there are many different types of code embellishments, but there is one specific topic that everybody refers to when they think of embellishments in R&B and useful guitar, because it's one of the most popular things. And I'm talking about legato, specifically how neurons and pull offs. Okay, So these are two very important techniques when you play guitar in general electric guitar, acoustic guitar. But in this genre that we're talking about in this course, it really makes a huge difference if you know how to play and how to control. More importantly, how to control the hammer ons and the pull-ups when you play chords. Okay, So for the sake of this lesson, we'll be using three chord as an example as cords for the development of these exercises. Okay, So the three causes, or D minor, E minor seven, F major. So these are obviously chords that we already played in this course. So at this stage, we should be all good with these positions and we can actually start talking about the embellishments. So the hammer ons and the *******'s specifically, we did touch something about how neurons, even previously, a couple of chords. But now we're going to see that in a more analytic and organize the way. Okay, so let's start from the D minor seven. Now, the first thing that we're going to say is that it is very common to use the little finger in order to play the embellishments, the hammer ons, and the pool loss. So how can we get started with these hammer ons? Well, let's start by saying that the little thing or could go forests and so on the second string. So two threads across from where your second finger is already. If I think of this D minor seven chord position, my second finger is obviously playing the Fred number six. Okay, that's the minor third. It all I'm doing is adding the little finger on Fred eight. So I get this hammer on here, okay. Like that. That's the first hammer on that we're going to introduce on the D minor seven chord like this, okay? The second one instead is a very similar one. Almost identical, I would say it's just one string below with the same finger. This time the little finger goes to the fret number eight of the first string, like this. Okay, so this time I'm hammering on the note that I play with my bar. It's the node a. So the perfect fifth of the chord to the minus 7th, the note C. Okay, so while here I was hammering on the minor third to the perfect fourth. Here I'm adding the minus 7th. I'm hammering on the minus 7th, starting from the perfect 5th. Like this. Now, how do we practice this in a proper exercise? Well, we can go through two different routes. One is actually using single node. So regardless from which code I'm playing, I'm actually only thinking of the single notes like this. And then that's a good starting point. That's the first exercise. Okay. Then I can do a hammer on followed by a pool off on the same note slide. Something that we need to mention about the use of the little finger for these Hammer runs and plots is that really the little finger should be about 45 degrees towards the inside of the fretboard. So what I mean by that is that I don't want you to really get used to the hammer on being straight. You don't want to be too straight. You don't want to be curved, facing you either. You actually want to have this, which is more of a classical guitar technique really of having these. 17. More embellishments. Hammer-ons on v min7 or iii m7 : Okay, now let's continue with our exercises for the hammer on and pull off the court embellishments in RMB will be introducing a different type of hammer on, on the second string when you play the minus seven chords. But we can't apply this hammer on this new Hummer on to both the d minus seven and minus seven to minus seven courses that we are using here as an example, let's explain why we will have to briefly touch the music theory again. So the D minor seven and minus seven, in order to be in the same key, they will have to be in the key of C major or a minor. We already explained that C major, a minor aids exactly the same thing. So let's assume that we are in the key of C major for the sake of this example, if C major seven is our first degree, d minus seven will be two, minus seven will be three. So the two minus seven and the three minus seven, obviously the last chord, F major seven, will be the four major seven. Now, when you play the minor seven chord on the second degree, d minus seven in our example, you can actually play this embellishment if you like it. This is an embellishment that goes between the major ninth of the chord and the minor third. So between the nodes E and F, like this. And it's one of the best homeruns that you can play. Especially when you combine it with other neurons. But we can't play the same exact embellishment on the E minor seven, doing things like that. Okay? Because if I do this and I used the major lines of the code and the minor third of the chord, that major nine, the major nine to the minus seventh is an F sharp. F sharp is a note which doesn't belong to the C major scale, to the C major key. This is a general rule that you can remember about the minus seven chords. You can't play the major ninth, okay, so this note here, if the cornea is the three minus seven, okay? So the third degree of a major key, or the fifth degree of a minor key, which is exactly the same thing. If you guys are a little bit more experienced on music theory, you might know that this code is called also the Phrygian chord because it's the corner you find on the third degree of a major scale where you can start your Phrygian mode, your fridge and scale. The Phrygian scale, the Phrygian mode doesn't have the major ninth. It has the flat nine or flats second, therefore, even this doesn't include, this note is actually, actually includes the F minor ninth or the minor second. Okay? So you can't play this note because it would be an external nodes to the key. So you can only play this a hammer on the second grade. Or if you happen to play the sixth degree, which is now not really comfortable in this case, it's a minus seven and it's not comfortable with this shape. I mean, you can play the major ninth, that's no problem. In fact, if you like it, you can do it from the minor seven chord position that we knew. We do have three minus seven chord in each major key on the second, the third, and the sixth. Now, only on the third, minus seven or five minus seven. If you look at it from a minor perspective, you can't use the major nights. You can't do this. This will not sound good in the context with the other chords. Okay? Now this thing actually helps us because it can help our creativity when we practice these exercises to spice up the exercises on the strength of the fingers on the home runs and pull off. And for instance, on the D minor seven, you can now add this exercise, which is a hammer on between the first and the second finger. Maybe still combine it with the one on the first string that we saw. Even with a hammer and pull off like this. Okay? And then you can try with the chord. Maybe combine it with a hammer on. And then tried to hammer on, pull off. Okay? And once you are done with the single chord, we'll try this with the metronome in a minute. You can now start moving from the D minor, 729 minus seven, keeping in mind that you can't do this hammer on. So you keep the two home runs or amaranth pull offs that we saw ready for the minus seven. So combined together, an example of the double hung around both chords could be. Again. Again. It creates a really nice melody. Okay, Then on the F major seven, you can keep any of these hammer on. So we already saw, okay, so altogether it could be something like or how neurons plots sometimes. But let's practice even these new exercises with the metronome on 90 BPM. So 1234. And now with the court. Now hammer ons belongs. Now mixing them up. Now using more than one chord. Now we can slow down the tempo to 70 bpm for the sake of putting all of the chords, we practice this separately, together with a little bit more of creativity when we practice the exercises. 234. Now with a double hung around pull off. So yeah, just keep doing it as much as you can. See the resource. You will see how stronger you become when you practice the hammer on and pull offs in your embellishments. 18. Min7 to sus embellishments: Okay, Now let's see one more type of embellishment that we might want to add to our practice routine. And it's a minor seven chords with the root on the sixth string. So for the sake of this example, we'll be using a chord progression in the key of C minor. And the chords are F-sharp minor seventh, G-sharp minor seven, and C-sharp minus seven. So basically a four minus 75 minus 71 minus seven. Now the embellishment this time will be on the G string. So although it's still played with your little finger, you actually have to hammer on the sus4, so it becomes an F sharp, sus4 and F-sharp seven sus four, because you take the minor third and you add the fourth to replace really the minor third. So we know that every time you replace the third in accord with the force, you play a SAS for. So even the F sharp minor seven now becomes an F sharp seven or minus seven sus4. Really nice coordinates, a nice move, a nice embellishments that you can practice this time on the G string, okay, It's actually something really common. We'll see a few chord progressions later using this specific embellishments. So the exercise that you can practice goes like this. And again, so all I'm doing on this F sharp minor seven, and also on this G-sharp minor seven is playing a fourth string or paid you. But on that fourth note that play on the G string, I use my little finger as a hammer on. Okay, so then when I go to the seashore minus seven, I can, for instance, play this, which we explain that is a nice humming around that you can play on this code because it's not a Phrygian cord. Okay. This is the eolian cord. It's the one minus seven. We did say that we can play this on the two minus seven and the six minus seven, or obviously that's the same under four minus 71 minus seven. From a minor perspective, we can't plate on the three minus seven of a major key or on a five minus seven over minor key, which is again the same thing. Okay? So because we are only four minus 75, minus seven, minus seven, we can do it on this one minus seven altogether. Let's practice even this with the metronome. This is 70 bpm, 234. Okay guys, so keep in mind that you can practice this particular embellishment even if you are struggling something. It's a way of playing this embellishment that really long. And it's very much our EMEA neo soul. 19. Shell voicings (min7, maj7, dom7, 6): Alright guys, and now it's time to introduce a few new chord positions, particularly a new voicing for some of the course that we already played so far. I'm talking about shell voicing, okay, so when we refer to share voicings, we really mean that we don't want to play all of the notes of a chord. We actually want to play only the root, the third, and the seventh. For any of the courses that you are going to be using in shell voicing. Let's see a few examples of this and why this could be actually important for the RMB and new so vibe that we want to achieve on acoustic guitar. If I think about a minor seven chord, like, I don't know, G minor seven chord. Okay, we already saw that we can play it like this. We can play like days, of course, but if I only want to select the roots, the minor third and the minus 7th, I get this. So again, I'm skipping the a string and I'm only playing the E, D, and G springs like this. Obviously I can do the same on any other minor seven chord. And if you like this kind of voicing, you can try the same even when the root is on the a string, I'm thinking of a C minus seven. And for instance, you will find root minor third and minus 7th like this. Okay, so the difference is in the voicing really of the shell voicing, because when the root is on the E string, you find 173, okay? When the root is on the a string, you find 137. Okay? This is really important. You can find it in more jazzy and RMB voicings of the courts. You will also find it sometimes in blues when the blues is playing with more of a jazzy vive, imagine something like et cetera. Okay, So even in blues, you can find these voicings and then you can apply the same concept we just found out. It works for the minus seven chord, even for the dominant seven chord and for the major seven chord. If I think of a dominant seven chord, Let's assume, for instance, a D7. Like this. Well, the voicing of this code can start from the root hair, then include the major third and a minor seventh, and you're done. Okay? Obviously all of these chords or omit five guys, because if we select only the root, the third seventh, we are intentionally skipping the fifth in these courts. And we get this vibe here for the D7. Okay? Then if we want to look at major seven chord, I really liked the idea of looking at a major seven chord with a root on the a. So for instance, a C major seven chord. We also saw how to play this as a C Major nine. And how to do this embellishment between the major sixth and the major seventh so that you can actually play a C 69 goes into a C Major nine. Now, with this in mind, if I look at the root, the major third, and then the major seventh, I get this awesome, forcing the shell voicing for the major seven root major third major sensor 137. But if I do the same hammer on, we discussed previously when we were looking at 69 becoming major nine. And I obviously don't include the B string because I only want to play three notes in the shell voicings. I get this. Fill only three strings, but with that hm around, which gives us sort of further embellishment to the shell voicings. Okay, so to recap, we looked at this position or a shell voicing four minus seven. Or also, if you look at a minor seven chord with a root on the a string, we also looked at this dominant seven voicing, and there's major seven shell voicing also doing the hammer on here. 20. Chord progression with shell voicings: Now let's use some of these positions into a couple of chord progression that might give us the field, the RMB fuel they were looking for. So Shell voicings use the shell voicing and also some other embellishments like hammer ons and pull offs. So now all I'm using really is a G minor seven in shell voicing. So only these three strings, same position but to threats across for a name minus seven. And then for the D minor seven, although I could, I could play the shell voicing. I actually like to play D minus seven, okay? Because this allows me to play if I like it, even a few more embellishments. So, so far, I only start by plucking those strings that we mentioned for the G minor 78 minus seven. And then the usual for springs AND GNB for the d minus seven. So the timing is 1234134. I'm only using the percussion or to inform as always. And at blocking on the course goes on. One. Upbeat number two, okay? Right? The more I played, the more it comes natural to add a few other notes, like a few other strings, or maybe add a few ghost notes. Okay, So the whole thing goes like and feel free to obviously add embellishments. I was doing the hammer on with the second finger on the D minor seven. Then we practice the already quite a lot in the previous lessons. And then I was also ending one of the minor nine just to make it sound more like an ending. Okay, really liked the minor nine color and vibe to finish a chord progression. And now it's all lookouts a new chord progression using some shell voicings and some embellishments. So this time we are in the key of C minor. C minor seven will be our one minor. But I like to start from a flat major seven, A-Flat Major seven. We know that already is the flat six major seven in the key of C minor. Then I go to the 57, which we discussed already, which is simply a G7, this time plane in C-shape like this. And then I blame the C minus seven, which is the 1minus. So flat six major seven, 571 minus seven. Now, the A-Flat Major seven. So the flat six major seven is played as a shell voicing, but I like to play. There's grace note that there's embellishment. Hammer on with the little thing, okay, the same thing that we discussed that previously when we saw how to play these shell voicings, the shell voicing for the a flat major seven would be this justice. But all I do, I borrow my first finger over two strings in order to allow my little finger to play the hammer on. This quote, I like to pluck, do the Hummer on, then pluck again percussion. And another sound like so plot Hummer on, repeat that. Neither you just Amazon percussion and then a plaque. Okay. Then after this on the G7, I really liked to play just a single note or paid you. Okay, this is not a shell voicing, it's the full shape of this chord. And then from here I go to C minus seven shove voicing. I like flack those three screens and create a similar graph to what I was doing to the A-Flat Major seven, I was leaving on the G7. Feel free to play the new page here, the plaque, and then maybe repeat one of these notes up to you. Which one? I think most of the times I would play what it's on the G string. Okay? So you see on this c minus 70 comes natural, gets into a finger picking groove like usual. Doctor date, single note on the fourth 16th per cashier and another plaque before hitting the percussion and form altogether. Of course, once you're comfortable with the chords, you might want to try different variations and feel free to be creative. Actually try to be as creative as you can, okay? So only use these as examples and then develop your own favorite groove with these cores. Okay, these are just examples of what really works in this genre. When you want to put together the chords and get your RMB chord progressions. 21. Dim7 chords: theory, positions and moves: All right guys, so now it's time to talk about a really important topic of RMB, a new solo guitar. And I mean, that diminished seventh chords, diminished seven chord move wishes so popular in this style. By far, this is one of the most requested topics when I upload my YouTube videos on R&B, and Neil saw as one of the questions that I receive more often together with the other one that we discussed about the hammer ons and the embellishments on the court. And I want to use this video, this part of the course to really go through all you need to know about diminished seventh chords. So we'll be covering the theory behind it, the positions that we can use and why we can use it as a chord substitutions, particularly as what we call a secondary diminished seven chord. Okay? So that the diminished seventh chords and the diminished seventh chord move will not have any secret for years. So let's get started by saying, which knows you've got in a diminished seventh chord. So first of all, you've got a diminished triad. So if we are in C, C will be your root, E-flat minor seven, and G flat diminished, fixed, okay, So root minor third, diminished fifth, that's just a simple C diminished triad. But then after this, you will have to go to your diminished seventh. So I'm talking about the note a in C, but we can't call it a. We will have to call it B double flat. Okay, now let's see why. Because if C is my route or if I go half-step below the note B, I will find the major seventh. So major seventh, if I go another half step down, so B flat, one whole step below the octa, I will find the minor seventh. So B flat is the minus. The diminished seventh is basically another half step below the minus 7th. So I get to the a, but I need to keep calling it with the letter B, which is the seventh letter in the C key. So this will be a B double flat, okay, if I call it T, I might also get confused between the major sixth degree, which is a, and the diminished seventh degree, which is B double flat. Okay, with this in mind, the notes are a, C, E-flat, B-flat. Okay? The degrees are called minor third, theft, diminished seven. Okay? This is the fully diminished seventh chord. We're not talking about the half-diminished chord, or a minor seven flat five, which we introduced previously, because that is made by a diminished triad, but the seventh day you uses the minus seven. So B flat in the key of C. Here we are using the diminished seventh, which is B double flat. Okay? Now, the distance between these nodes here is where things become really interesting and we start understanding why the diminished seventh chords are so unique. The distance is always three semitones or three half-steps. So between C and E flat minor third, there are 3.5 steps. An E-flat, G-flat minor third diminished 5.5th, three steps. And again, between the diminished fifth G flat and the diminished seventh, B double flat, it's still three half-steps. And guess what? If you continue from the diminished seventh and you get back to the root or the octet, which is the same. It's again another three semitones, only three half-steps. So all of the nodes have the same distance between each other. It's almost like a circle. This will be really interesting because that means that when you move from one node as you route to the next node, does your new root node, I'm talking about the minor third becoming your new root node. Note that you have within this new code are actually exactly the same because of this distance which is constant between all of the notes of the chord. So if we use to find a C, E-flat, G-flat, B double flat as a C diminished seven. If I now start from E flat as my new root node, and I want to go through the same intervals. I find E-flat, G-flat, B double flat effectively and say, okay, you might want to use different letters. We're not so strict in the use of the letters of the diminished seventh chords. 22. A brief talk on secondary dominant chords: Now guys, in order to understand the diminished seventh chord as secondary diminished seven chords and that diminished seven chord move, we need to say something about the secondary dominant chord. This is one of the most important chord substitutions in music, and it basically works like this. You have a chord progression and you want to somehow create more tension when you go to a specific cord. When this chord that you want to create the tension two is not the one. You can reach that chord passing through something which is the five dominant seventh of the chord. You are going to, Let's see this with an example in this will make even more sense. So the chord progression is C major seven. B7 alternate, E minor seven. Okay? Now we are in the key of E minor. Alright, so this is the flat six major seven which we played many times. The B7 Aldrin is the 57 and minus seven is a one minus seven, of course. Okay, now, if I want to start again from C major seven, so I want to go back to the first quarter of the chord progression, which is not the one, It's the flat six major seven. Something that I can do is create the tension to get to this C major seven. In a way, we are pretending for a minute that the C major seven acts as a new one, even though temporarily, okay, only when you play that chord. So if we were in the key of C major, which one would it be the 57 of C major seven? It would be G7, because G7 is the 57 of C major seven. So I can actually play this G7 before starting over. So let's listen with them without, okay, So without the G7, it goes like Okay, sounds good. Pretty normal chord progression, very much RMB already and playing or note or pay deal followed by a percussion. But if I want to stay on the E minor seven only for one or page here, okay, and then move to the G7 instead of repeating another in minus seven, this takes another flavor. Let's listen to this, and so on. So it basically creates more tension to start again from the C major seven because G7, like we said, is the 57 of the C major seven. Now, because the C major seven, it's actually not the one but the flat six major seven. Well, that G7 will be notated as a 57 of the flat six major seven. And this is what we call a secondary dominant. Dominant because it only applies to dominant seven chords to create the tension to go to another chord, which is not the one, in this case, six major seven. Why secondary? Well, because each key that you might want to play major minor already has one primary dominant seven chord, okay? It has one dominant seven chord, we call primary because it's the only one that you finding that specific major or minor key. Okay? So if we are, for example, in the key of D major, you will find a nice seven, okay, as a 57 and any other dominant seven chord you find in a chord progression in D major will be labeled as a secondary dominant seven chord. Now, in a way, even the B7 old trend that we're playing here could be considered a secondary dominant. Because every time that you are in a minor key, and here we are in E minor. In the key of E minor, the five, if you harmonize the E natural minor scale like we did at the beginning of this course, will give you a minus seven chord. So it should be a B minus seven coordinate. Actually sounds good If you play that out. But in a way, when you make this five dominant seven, you add way more tension to go strongly to that one minor, right? So without which is okay, but then it changes everything. Now we can't always labeled this as a secondary dominant seven chord in a minor key. Just because it's very common, it's such a common practice, having the 57 of a minor key as a dominant seven chord rather than a minus seven, that we can't really say this is the best example to understand a secondary dominant. And also because if we harmonize another E minor scale, which is not the natural minor, but instead it's the E harmonic minor or the E melodic minor. On both organizations, you do find a B7, and particularly it's a B7 altered as a fifth degree as a fifth chord of the, harmonize the scale. If you think that you are in E minor, but you are getting the five-note from the natural minor scale, but from the harmonic or melodic minor scales. Well then yes, that is the right chord and the five, you will find a B7, B7 altered. That's why I don't think This is the best example of a secondary dominant. But if we look instead at the G7, that is a perfect example of a secondary dominant, because in the key of E minor, you definitely don't have a G7. And G7 will be the 57 of the flat six major seven. So let's play again this nice chord progression that we got with a flat six major seven. The 57 altered the one minus seven and the 57 of the flat six major seven. And we can even do it with a pickup melody if you like. 23. Secondary diminished 7th chords: Okay guys, so hopefully this makes sense and now we're ready to look at the secondary diminished seven chords instead. Now all we're going to say about these secondary diminished seven chords applies to diminished seventh chords used as passing chords, both to go to a major or a minor chord. So let's start again from our chord progression, C major seven, V7, all treads minus seven. We did add a G7 as the secondary dominant 57 of the flat six major seven. To go back to C major seven, well, sometimes you want to make this secondary dominant seven chord alternate. It does apply super often when you go to a minor chord, but from time to time you can find this even go into a major chord, C major seven chord. Okay? This is very common in RMB, very common in use. And it comes from jazz tradition. If you check on the real book, some jazz standard, especially from the bebop era. You will find this kind of thing very often. If we want to make this G7 an altered dominant seven chord, one of the most common things to do is actually add the flat nine, okay? Because the flat nine is one of the four alterations that we've got as possible alterations of an altered dominant seven chord. So if I want to make this G7 a G7 flat nine, I need to find the note, a flux, which is here, and it's the flat nine. So rather than playing this position, I will now play this position. And if I look at the voicing of this code, I now have the root, which is key, which is the major third, which is my minus seven. So, so far That's a shell voicing of a G7 know five, it's an omit five, and then a flat, which is my minor ninth. Okay. So I get this. But what if instead, I want to add that faith that I wasn't playing the perfect fit. Well, the perfect fit would be this number here, d. So it would be grouped majors that minus seven, flat nine. Perfect fit. But it's not really comfortable to play when I include all of these nodes. And sometimes you simply don't want to play all of these notes because they are just too many. To make this code a little lighter, you might want to play it rootless. And if you take this G7 flat nine and you remove the roots, you don't play the note G. And you start your code from the note P, which is the next note in the chord. All you get is B flat D, but this looks quite familiar. This is actually a B diminished seventh chord. So we can now play a B diminished seventh chord as a replacement for a G7 flat nine because the G7 was the secondary dominant. Now the right name of this, or the B Diminished seventh, is actually secondary diminished seventh chord. Rather than being a secondary dominant, it's a secondary diminished seventh. The function of the cord is still the same. Create the tension to go to the next chord, okay, but rather than using the cord equally the road I use the dominant chord. A dominant seven chord is secondary dominant without the root. And all I'm left with is a diminished seventh chord. So I can play and so on. Or because we, we've learned, now, you can move this code by 3.5 steps up or down, and you're still playing the same chord, we can play something even more spicy. So all I'm doing, I'm looking at my B diminished seventh and I'm saying, Well, because I can move it by 3.5 steps. Let me move it down to G-sharp diminished seven. Start from here, just cause it's closer to the minus seven, okay? Then slide it to the B Diminished seventh. Now, both the G-sharp diminished seventh and the B Diminished seventh, or the upper part of a G7 flat nine. So all I'm doing is still just played a secondary dominant, but ruthless. And this gives me the access to two diminished seventh chords. But I can play up to four of those as we saw, which are the secondary diminished seventh chords, okay? So when you do things like this, you really hear that neo soul RMB vibe, even though we're playing on the acoustic guitar, you can actually get that sort of vibe. Or would it say that you can find the diminished seventh chord as passing chords both to go to a major or a minor chord, okay, In both cases, the function is a secondary dominant function, which takes the name of secondary diminished seventh. Now let's see a couple of examples going to a major, to a minor chord, okay, first, let's talk about major keys. Let's say that we are in the key of C major. The first chord is C major seven, and the second chord is D minus seven. Now, if we want to go to the d minus seven, which is the second, the grievance to minus seven with its secondary dominant, we need to think about what's the Phi of d? The five of the minor would be an A7, particularly a nice seven altered. So because this is the A7, I can replace the A7 now with the secondary diminished seventh chords built on the major third, like we saw previously when on the G7, we were starting from B, which is the major third of the chord. And we were getting the diminished seventh chord in a. Instead of playing the A7, I look at what's the name of the major third head. Well then the major third of a is C-sharp, so I can play a diminished seven starting from there. And that will be a perfect substitution of an A7. So the A7 would be the secondary dominant. C sharp. Diminished seven is the replacement for that secondary dominant, and it's the secondary diminished cord. Obviously I can move it around because we learned even with the G7, that when you were a plane that the diminished seven, we couldn't move it down. Or we can move it up like any other diminished seven quarters would take now this flavor, rather than being C major seven, then simply d minus seven, or rather than doing C major seven, A7, d minus seven, which is the secondary dominant, we actually do. Okay, which is the replacement of that A7. It will sound like an A7 flat nine, okay? A7, 57 of the two minor C-sharp seven is basically the sharp one diminished seventh, or again, the same function as the 57 of the two minus seven. So what if I move? It? Really sounds good. C sharp, diminished seventh, moving to E diminished 73 half-steps, Iowa. So going to the minus seven. And then you can continue your chord progression. Now let's say that we want to go to D minor seven with a diminished seven chord, with a passing chord, which is a secondary diminished seventh chord. But this time we are not in a major key. Liking the previous example where we were in the key of C major, we are now in the key of D minus a minor key, where d minus seven, the code that we're going to is actually the one minor. And the chord progression could be g minus seven, minus seven, minus seven. Okay, so four minus seven, five minus 71 minus seven. Typical R&B chord progression. Now, after playing the four minus 75 minus seven, I can apply the same kind of talk that we had previously. So I can think, what would it be, the secondary dominant of D minor or that 57 in general that we use very often in minor keys, it will be the a center. A7 flat nine can be replaced once more with the C sharp diminished seventh. So I can play the C sharp diminished seventh just before approaching the D minor seven, even though I'm in a minor key now. So this will be live. So I was, I was playing, I was playing the G minor seven and minus seven hours, shell voicings briefly to the C sharp diminished seven, and then one bar. Usual embellishments on them. Minor, D minor seven. I can obviously still move this one by 3.5 steps and get something or even slower. It's up to you really to find out what is the best way you use them in terms of length of the chord? Just to let, you know guys, that you can use the diminished seven chords in major and the minor keys as passing chords to get to a major chord as well as to get to a minor chord. And the function will be the same secondary diminished seventh chords now get ready because in the next chord progressions will find the diminished seventh chords quite often because this is actually something that happens all the time in R&D and neo soul guitar. 24. RnB chord progression with Dim7 chords and embellishments: The diminished seventh chords can also help creating a nice chord progression, a nice groovy RMB chord progression, when you just start by using a couple of chords in the key. So for instance, if we are in the key of E flat minor, E-flat minor seven is the one minor, and you only want to use another chord like the four minor, a flux minus seven, which is the form minus seven. You play things like 12341234. So one bar each on the a flat minor seven and E-flat minor seven, you can use the diminished seven chords to really create the rest of the chord progression. So effectively, you only do a minor, one minor in E-flat, but you can use as passing chord, lots of diminished seven chords. Let's start thinking about how we can go to a one minor in particular to these E-flat minor seven. Well, we can think of the secondary dominant, which would be B flat dominant seven, or in general, the 57 of E-flat minor. Okay? Now, when we look at this code, we already know that when we point out the major third of this code, which will be d, B flat is the root, and D being the major third of B flat seven. What we can do is use the diminished seventh chord built on that major spurred. So D diminished seventh, and think of it as the upper part, like we explained already, of this B flat seven, when you extend it to the flat nine. So when you make it all trades to go to E-flat minor. So think of it as you want to play a B flat seven flat nine rootless, okay? And what you get is a diminished seventh. If you then had your B flat, that would sound like a B flat seven flat nine, but you only play the diminished seventh chord here. And as always, what you can do is also moving this diminished seven chord, three semitones up or down. In this case, we could move it up by three semitones. Okay, so let's listen to it again. We had a flattened minus seven. Then imagine we play this to go here. But the way we do it, okay, So 12341234, we only used two beats of the a minus seven bar to play the D diminished seven, which then lived into an F diminished seventh. Okay? But then once we reach the E-flat diminished seven, we can actually do the other way round. We can create the diminished seven chord as secondary diminished seven chords to go back to the first quarter of the chord progression, which was a flattened minus seven. We already said that a flattened minus seven is not one of these key, but it's the first chord and it's the four minor. So we need to think of the secondary dominant of the four minor, and that would be B-flat seven. E flat seven is the 57 of a flat, E-flat minor. For the sake of keeping the same visualization on the fret board, we can actually think of that a flat note being here on Fred 11 of the a string. So that you can easily see that on top of that Fred 11 of the E string, you have the five of that chord. Okay? There's always works like this on guitar, on the fret board of the guitar. So you can think that E flat seven will be, here, would be the 57, a flat, D flat minor in this case. And as always, like we did before, we can point out the major third of this core of this E-flat seven, and that would be the note G. And here we can play the diminished seventh chord. So we can use this G diminished seventh chord as the upper part of E-flat seven, e flat seven flat nine, E-flat seven flat nine will be the 57 flat nine. So the 57 all trend is secondary dominant of a flat minor, but we replace that or better, we played rootless and what we get is G diminished seventh, okay? So it would be, it already sounds good and quite RMB In the sound. Very jazzy vibe. Okay, well we can do next is thinking that, well, the G diminished seventh, like any other diminished seven chord, again, can be moved by three semitones and you are still playing the same chord. So this time, rather than moving it up, I want to move it down. And what I get going three semitones bag the diminished seventh. So when I play my chord progression and I play the E flat minor seven as the one. What I can play next is a runoff. Need diminished seventh, G, diminished seventh, back to E flat minor. So again, we started by using only two chords, the form mine and one minor, a flux minus seven, and E flat minor seven. And we now play two diminished seven chords to go from a flood minus seven to E-flat minor seven, and another two diminished seventh chords to go backwards. So something like. So in terms of beats, we count 2341234234, etcetera. Okay, so you use those to as secondary diminished seven chords on the beats 34 of each bar. Okay, right now that we've got all of the cores of our chord progression, the next step is adding a few embellishments and get into that laid back R&B field. So what can we do next? Well, we can do something like this. So all I'm doing guys is playing a strong on the first quarter and then the usual staccato, we're looking for that staccato feel very often, okay? Or at least we are looking for the difference between a long sound that you want, as long as you can. Another one that instead you want to stop us as soon as you can. Okay, That's the castle feel. So you play this kind of thing. Okay? Just hitting a few strings up and stopping the sound as quick as you can. And then fully diminished seventh chords are really liked to play a four note arpeggio, which slides into the next diminished seven chord. Sounds really, really aren't. Neo soul. Then on the E-flat minor seven, which is the one minor, I like to play at least one embellishment on the chord. And that is the major secondary, nine to the minus third like before hitting the same staccato, feel with the upstroke. And then from the next diminished seven chord, guess what? I just do the same thing as before. So Player four note or pager, which I then slide here, like this. Okay, so altogether cord, staccato or paid you slide. Like cattle or paint here. Slide. Okay, once more. Right guys. So we literally started from two chords and we got a nice groovy chord progression made by also for diminished seven, cause our pages, the cat as embellishments. And that's how you get a proper R&B and neonatal bike. 25. RnB chord progression: timing, arpeggios, embellishments and more: Okay, and now let's start from a similar chord progression, but adding one more chord to the key of E flat minor and trying to use different types of embellishments called embellishments to get that nice RMB chord progression that we all love. So this time, rather than playing just the four minus eight minus seven to the one E-flat minus seven. We actually want to use a superclass, say chord progression of RMB, which is four minus five minus one minus n. The key of E-flat minor, That sounds like a plus, minus seven. B-flat minor seven flat five minus seven. Okay? So you can start by counting the beat as always, 12341234. So the first two chords for mine and five minor, they last for two beats, each half bar, and the flux minus seven takes the whole box. Now, the next step is adding a few embellishments. And let's start by adding a new embellishment to the minus seven chords that we've got here. What we can do is the SAS for embellishment with the little finger on the G string. So things like the gay, our pages. And then as to get the sus4 and then play a staccato upstroke without the sus4. Okay, that sounds really groovy when you do it, but on the E-flat minor seven, you do the usual embellishment. Followed by us the castle with a downstroke this time. And then we start with more embellishment. Some of the embellishments that we did practice in the chapter on the embellishments and the exercises on the code embellishments, hammer ons and offs. And we're gonna do this double classic double hung around on the B and E string with the little finger doing in 16. So this takes only one beat. So, so far we got, but we still need something to spice this up even more. And why not to use some diminished seventh chords? Okay, so the first one that comes to my mind is a diminished seven core to go back to a flat minus seven. Now as always, we need to think about the secondary dominant, which would be E-flat seven. This time we can look at the major third of this E-flat seven here, which is the G Okay, employee or a usual G diminished seventh, secondary diminished seven chord, the upper part of an E7 flat nine and go back to the a flat minus. So the upper Martin, this E seven flat nine, is our usual G diminished seventh. But this time I want to move it three frets higher. B flat diminished seventh is the new name of the cord, although you're playing the same chord, simply plate here because the highest note of this specific voicing of B flat diminished seventh is the note D flat, which is nothing but the last note you play on the embellishments of the E-flat minor seven. You can basically encode this little finger and get the B flat diminished seventh to come back here. Alright, so, so far we got, and you can leave it like this if you like it, that's absolutely fine. We can actually play sometimes exactly like we just looked at right now. Or we can add one more diminished seven, which we did play previously, which is the D diminished seventh, to go to E-flat minor. Why is that? Because you can make your five minor, B flat minor 757, B flat seven, particularly B flat seven flat nine, and only played rootless. So the upper part, getting your D, diminished seventh year secondary diminished seven chord. So you can play if you like. Okay, obviously, if you decide to go for the diminished seventh, you need to make room for it on the beat number four of the B flat minor. So you basically count of three short on the B-flat minor, seven, D diminished 74, so 13. Both these last two sounds are short, then E-flat minor 123. Okay, 131. One breach. And he starts again, or if you don't want to use it as the diminished seven, you can just play. That's absolutely fine as well. So up to you guys, two different versions of the same chord progression, which just started by using classic 451 minor. And we moved it into a proper R&B chord progression using embellishments and diminished seventh chords. 26. RnB Fingerpicking techniques: Plucking, Arpeggios, Mixed, Percussions (backbeat), Flat picking: Right guys. So in this part of the course, we're going to talk about finger picking techniques when you play R&D in neo soul arccosine guitar. Throughout the entire course, we will alternate using the fingers and using the pig, because both techniques are incredibly helpful to play this genre. And we'll also touch on using both simultaneously, which is the hybrid picking. However, in this particular part, we're only going to cover the finger picking techniques and try to understand more about plucking or pages for caching, flat baking, and more. So in order to play a chord progression which sounds or Ambien near, so you don't necessarily have to use really difficult chords. An example of that could be playing something like a 451 minor, which we did say before. It's one of the most popular chord progressions in this style. And say that we are in the key of a minor and only use the a minor as a triad, as an open, as a coordinate. Every beginner guitarist and knows, okay? And only keep the d minus seven and minus seven hours to barcodes minus seven positions, which we introduced at the very beginning of this course. And just play some delight to get started. Okay, this would be 12341234. Okay, Right now I'm plucking the strings, so I'm playing all of the strings for the chords, for strings but chord simultaneously. Okay, I'm doing this. I start by having all of my fingers on the strings and they want to play. And then I pluck them. Like done. Typically, the next step would be adding something on the back beat. Okay, I want to imitate the snare of the trans. And to do so, I will use a percussion. Now, the Percussion can be played in several different ways. We'll try to cover a few in this lesson. And one way could be using all of your fingers, doing this, going against the strings, stopping the sound. But simultaneously hearing this for cassis sound that we create. Or another way is using only one finger, which typically is the thumb, so that you play a font slap like this. Okay? And this is another very popular way of doing it. Okay, so our simple chord progression with the chord still changing on 12341234 becomes. Okay. At this point, I could look into our pages and use another technique, playing a single note each time, okay, something like the strings are they play are the same, but this time I want to pinch the strings separately. And most of the times listening, let them ring to listen to them together when I reached the last one. Okay. You know, things like that. But using your pages doesn't mean that you can't also use the blocking and vice versa. You can actually mix them up together. So using plucking enter pages in the same technique, okay, and getting something more like this. So when I do something like that, first of all, you might have noticed that I don't play the same pattern every time I like to improvise with the rhythm pattern on the right hand with the finger peaking. Okay? And I was already introducing inevitably some code embellishments. For instance, on the four minor, I was using the hammer on-off the second finger on the minor third so that you get something like that. I start by blocking, then either playing a single string or a few more strength. But anyway, just before I do that, just before the percussion on two, okay? Because then I know that I will have to plot the minus seven as well. When I plug the minus seven, I start getting into the vibe where I wanted to play a few single strings. I can, again, I can change them every time, okay? Okay. As long as I keep the percussion on the beat for just before and just after the percussion, I can play a single note. Again. I'm playing and our pages, so I'm mixing the plucking with the percussion with your pages. And it's really nice because when the corn and you still have the bass note ringing and you get ready to go to the next chord. And on the final chord, I've mixed the techniques even more because I start with an or pages. But then percussion single neuron. Where is the neuron? The neuron is on the minor third. So again, when I play this, I taken me play a nice S2, but then I hammer on the first finger from the suspect, from the major second to the minor effects like dots. So I start with on our page here of four single note or pure or pager. For caching. Single note on the base, lacking of the other with a hammer on. And then I either play at the neuron or I can do a single plot, a single note, or paid you of the string if I want to hear a really loud that minor third. And then as percussion, and after the final percussion on the beat four, I like to play a couple of notes. Now on both the minus seven and the eight minus seven, when I play a couple of notes after the final percussion on, for, generally I do this then. This is percussion. G string. You can change it to the D, You can change it to be up to you. But then surely ending on the a string with the thumb because that place again, the root at the end of the chord progression at the end of the bar that you are playing. So now you might have noticed that I'm already evolving with the percussions into what some people call the flat peaking. Okay, I like to call it flat peaking, but basically what that is is a thunk slab, which we discussed already with a tiny stroke. So some people also call it a slap and Strom. So several ways to describe these two movements, guys, okay, percussion first and Strom next. Now, the percussionist certainly made with the thumb on name and the Strom on an index. And the stromal only takes a few strings. It's never all of the strings simultaneously. It's just a few strengths like that. But the really important thing is that you do these two things simultaneously. So you need to think of one motion with two fingers like that. Okay? This is also common in other styles in Canterbury in blue, that's actually an old-school Blues technique. And you can listen players like Joel media playing it all the time, but also other pop singers like Ed Sheeran using it very often. So it's something that applies to many different genres and styles in the pure way of playing this technique, you technically do only a two-finger technique, okay? Where everything is played by thumb and index. And both the slop and run and do your pages are only played by these two fingers. And it sounds really grew with when you do it. Okay, but in R&B, we can actually use that as a replacement for the classic percussion and keep the rest of the techniques that we are discussing right now. So plugging in our pages exactly what mix of both, exactly in the same way as we described before. Okay, So this would make our percussions more interesting. Let's listen to them. As you can see, you don't have to do it every time the same way. And you can actually use this new movement that we learned to actually help the slide between chords in the chord progression. Okay, just one more detail about this technique, guys. Technically, if I do it in slow motion, It's one of those techniques actually that is really hard to get in slow motion. If you see this in slow motion, I hit with my index the strings, namely second before the thumb, almost like if I wanted to create a grace note before the percussion, like that. So it tastes played simultaneously and the faster you go the most simultaneously will look like. But technically, the index is a tiny bit earlier than the thumb, like that. Now, another thing that I really liked to do when I use this type of percussion is having more embellishments and particularly quicker embellishments. Okay, maybe on the minus seven where we can play a double hung around on the bottom two strings with the little finger, which is one of the examples we made for the exercises to strengthen your fingers in the code embellishments in the hammer ons and offs. So that's what I play on the minus seven. So that's flat speaking helped me getting a nice volume and then okay, I played a double hunger on Perloff. So you can always change it. It doesn't have to be always the same. And it's just a way to start from a simple chord progression with very easy chords and then make it more interesting using all of the finger picking techniques that we discussed. Also getting into more accord embellishments but quicker corner malnourishment. And discussing the different ways of using the percussions. 27. Fingerpicking arpeggios, staccatos and laid back R&B feel: Let's continue exploring the finger picking techniques that we can use in RMB on acoustic guitar. And this time we'll be focusing more on single node or pages. Okay, we'll be implementing these are pages with embellishments, percussions, and also using the staccato feel. Okay, so we're in the key of G minor. The chord progression goes C minus seven, which is the four minor, G minor 71 minor, D minor 75 minor, E-flat major seven, which is the flat six major seven. That's where we start from. And then we replace the plucking that they just played with single note of pages. There's already sounds nice indeed, because there is enough space between the chords. But I can make it more interesting. If, like we said, we now add embellishments on some of the chords. We also add percussions on 24 for the backbeat because we want to imitate this nerve, the drums. And we also use this, the cattle on some of those embellishments. So I kept the percussion going. But on the C minor seven, I do. You know what? Hammer on the second string. And then I stop it very quick. That sees the cattle just before the percussion. Then a four note, or paid you on the G minor seven, making sure that the fourth note is staccato as well. So it's very short. Vanna percussion on for of course, then d minus seven, no embellishment. But then percussion. So why no embellishment on the D minor seven because that's the five minus seven. And then on the flat six major seven, another embellishment. So obviously practice it at different tempos. Okay, For some reason I feel like this is pretty much the right tempo, the most appropriate tempo for this chord progression in order to hear the embellishment, especially the embellishment, the hammer on, on the E flat major seven. Really nice with your little finger. Okay. 28. Min11 chords: Now it's time to introduce one more core type. It's another extension. And this time it's going to be a minor 11 chord, which is nothing but a minor seventh extended to the 11th this time, Okay? So you still have the root minus third, perfect fifth, and minus 7th, but you also have the perfect fourth, one octave higher. So you effectively have five nodes in this cord. However, it's common practice to often takeoff the fifth. So make it omit five when you play it on guitar. So you don't have the fifth and the fourth, you only have the 11th to the fourth one octave higher. Now that means that if you take a position like G-sharp minor seven, you will have to look at the highest note you play, which is the perfect fifth. And you have to move it down by one whole step so that you don't move the bottom three strings, or basically the lower three sound, which we already mentioned. They make the shell voicing for this chord. And you are only going to move this one down and you get, this, obviously is not the only way of playing minor 11 chords on the guitar, but this is one that has a really nice voicing wrote on the E string. And that's the full minor 11 shape. You don't play the a, you don't play E. I really love these cores and I use them very often as replacements for simple minor seven chords. Okay? One other thing that we want to keep in mind is that if we play this with an F sharp as our route, instead of playing and F sharp minor seven, we want to play an F sharp minor 11. What we get is being the open string as our 11th. So it's also nice chord, kinda like have the vibe of the open strings from time to time. Okay? So we're going to see now one example where we can combine both this position, the G minor seven, G sharp minus seven hours, my 11, and also sharp minor 11. Okay, but we'll combine this with one more extension that we play on a minor seventh chord. And I'm talking about the minor ninth chords, which we also saw already in the previous lessons in the previous videos. And we're gonna do this with C-Sharp as our root node. So this is going to be C-sharp minor nine. Okay, so to recap, the three chords are F-sharp minor, G-sharp minor 11, C-sharp minor nine. This will also give us the chance to continue talking about the different techniques that we can use when we play finger picking. So let's see the example. So this is a simple four minus 75, minus 71, minus seven in the key of C sharp minor. And what I'm doing, I'm mixing, as I said, several techniques, but all finger picking on the F-sharp minor 11, I start by using only our pages. Single nodes are pages, followed by a percussion. Okay? And then on the offbeat number two, after the percussion, I go to the G-sharp minor 11, but here, although I'm still plucking the note altogether, I'm not really playing them simultaneously, so I'm not doing just I'm actually doing this, which is a tiny embellishments that you can use on the right and make the coordinate more spicy and interesting. Okay, so listen to the difference. If I don't do it, it sounds like this, which is a name. Okay. And you can do it from time to time if you'd like it. But listen to difference with this. Somehow, nicer at least to me. Okay, then after this, I play one more string, which is the B string on its own, so it's a single note. And then another precaution, okay. Then I either play to ghost notes, which is another interesting technique, the weekend play, finger picking. The same thing that I used to do previously as for caching and four, then G string and bass notes. But rather than playing that G string bass note, I actually do muted sounds okay? Like that. Or if instead you want to hear those nodes, that's absolutely fine, then you go to your C-sharp minor nine. And what I placed this. So I first played you're paid you for caching and wrong. But I just run with the thumb. It's probably the first time in these videos, guys, that you see me running with the thumb. But it's another thing that I really loved to do because I also like to do this next. Before getting to my percussion and ghosts, I actually played out highest note that I play of their score on the B string as an upstroke with my thumb. Okay. It sounds really silly when you do it. Again, you can play the ghost. Oh, you can hear the sound of these nodes. Let's play first with the sound of the notes and then with the ghosts. 29. Chord progression with Min11 chords: Now it's time to see another example using the minor 11 chords. This time the F-sharp minor 11 with the open string, combined with other cores where we can explore even more these new techniques that we saw finger picking fonts from and more. So the example is in the key of F sharp minor. So the one minus seven would be F-sharp minus seven, which sometimes as F sharp minor 11. But we do start from D, which is the flat six major. And we'll be playing this as a major nine plus six major seven, moving to the 57 of F sharp, which will be C-sharp seven. But because we want to make it ultra, we're going to play it. Nine. You guys might know this quote as the Hendricks chord. It's a dominant seventh with a sharp nine. Then we'll be playing an F diminished seven other secondary diminished seven quarters a passing chord. It's nothing but the upper part of this C-sharp seven that we're playing, like dots, go into the F sharp minor 11, playing an embellishment to chase the measurement with the little finger on the G string, the sus4. Like that. Now we go to the F sharp minor 11. So the chord extension that we are discussing, and then back to F sharp minor seven. Let's listen to it altogether. Alright guys, so on this, the major nine I like to play in our page. Followed by percussion, drum with a thumb, and then upstroke with the thumb. Man either goes nuts on our pages of two nodes, as always after the percussion for our paid you and the C-sharp, sudden sharp nine. Than a mix of plucking in our page on the half-diminished seventh so far. Okay? And then the F sharp minor seven, arpeggio, with the precautions as always. Then the embellishment. Take off the little finger, then move it to the extra mile 11. Plucking and percussions with their little or pages. Well, then for example, Epsilon minus seven plate like this. So first string, which is another F-sharp, it's the root. So okay, here I played now single page on the extra mile 11. So up to you if you want to play like this, or if you want to play like two different techniques or pages and plucking. So okay, So this is both versions with plucking or with your pages. On the F sharp minor 11. I think this is a nice chord progression because it puts together several techniques and embellishments, but also a little bit more advanced chords like major 97 sharp night, obviously our usual diminished seventh minus seven, minus 11, busting through a SaaS embellishment also assess for embellishment on the minus seven. 30. RnB Picking techniques: Arpeggios, Strums, Hybrid picking: In the previous videos, we had a recap of pretty much all of the techniques we can play finger picking when we play neo soul and R&B acoustic guitar. Now it's time to do the same with the pigs. So let's go through a few techniques that we can play with the pig when we play this genre on the acoustic guitar. And I'm mainly referring to playing arpeggios, single notes with a pig strumming. But also the hybrid picking, which is when you use the pig and the fingers simultaneously, both for our paid you for it. Okay. What I do, so I played a base with a pig and then I use to more fingers, the middle finger and the ring finger to play another two strings. Okay, Right, Let's have a look at the first example to cover the pages and the strumming played with the peg. Okay? Okay, So we are in D minor and the one is obviously the d minus seven, but I'm playing this are paid you on the D minor seven, the four strings on D minus seven, where I do a couple embellishments, know, necessarily both every time I play this chord. But basically one embellishment is something we talked about many times, and it's on the B string when you do a harm or wrongful off with the second thing that before you continue with the rest of your page, you. But sometimes I also like a more unusual if you like, homerun, which is between the perfect fourth and the perfect fifth on the D string. So doing this on the second note that you play on your pager, that is when you combine them both together. Only one and both. Okay. When I play this one, I always like to play the other one. I don't like to play them. Play only the one on top. I like to play either both or only the one here on the second string. Okay, that being said, guys, then I moved to this position, which is quite interesting, is the flat six major seven, b-flat major seven. But I only play a shell voicing, which we already discussed. Playing the top three strings soil the flat six, hammering on the little finger to the b-flat major seven. Then I play a few other embellishments, which I want to also discussed because we haven't yet. One is to play a quick slide up and back and forth basically from the position where you are. Like gods, which sounds really neo soul. And then repeat again the base only as a slide to bring you to the next chord is G minor 11. So again, we're using the minor 11 chords that we just introduced. Okay? When I play this chord, I want hammer on slide back-and-forth. Play this note to slide the G minor 11. Very simple or pages single note arpeggio on both the G minor 11 minus 11 for minor and the five minus. So the whole chord progression is one minor, six major 74 minus 75, minus seven. Here is a diminished seventh chord. So I played a few embellishments a few times, just a few variations to show you some different options. But then at some point after the a minor 11, I played a C sharp diminished seven, which is once more the secondary diminished seventh, the upper part of A7, which would be the secondary dominant minor, 57. And as always, you can play this coordinates. So go back to D minor seven, or you can slide it by three frets, reaching the E diminished seventh. And back here, I'll show you both options up to you, obviously to choose which one is your favorite. Be creative as much as you can. But what I was doing when I was playing this before the uterus slide that I like to hear. So I like to hear the diminished seventh without using any technique really on the right hand just by sliding. But this time rather than strumming wants and then slide altogether, I prompt the base and the upper part separately because it's even more groovy to me, you know, when you play. 31. RnB Chord progression with melody and hybrid picking: And there's other example, I want to discuss something more about the right ten. And this is the chance to play the hybrid picking and also melodies in-between the chords. Okay, now let's see the cords. Fast. E minor seven, C major seven minus seven, minus seven. We are in E minor. Seven. Flat. Major 74 minus 75 minus seven will be playing this melody in-between the chords. Only three nodes will be our pages for all of the chord played with the hybrid picking. So I'll be playing the a and the springs with the pig and then middle finger and the ring finger on the beat. That melody. Same thing here, just moving, obviously the peak on the E string. So I would pick that GMB with middle ring. Same melody, a minus seven. Minus seven. Here I changed the melody. I play a sharp, so three nodes on the same line. So altogether slowly. Okay, feel free to play all of the notes separately or slides or pull off. That's completely up to you. Now before starting the very first time this chord progression, I like to play a pickup bar, which is made by these nerves. Okay? Agb, okay, AG hammer on this slide to the B. This is a good way of practicing the hybrid peaking at the same time, practicing nice short melody in-between the chords. Okay, when I play these three nodes, often I like to reach the first of these three e with a slide from the bleed. Like that. But again, as I said, it's up to you finding out the best way to play these three nodes in-between the course. Here is one more example for the right-hand techniques. Okay, So we'll be playing a flat six major seven in the key of C minor. So we're talking about a flat major seven, particularly a flat major nine, a four minus seven, F minus seven, a five minus g -7.1 minus C minor seven, a flat major nine minus seven, minus seven. C minor 7, min seven played, I would say as a shell voicing only UK. And here will be playing more strumming really. Okay, we'll be doing hammer ons. So embellishments, like for instance, the one with the little finger on the G string here. Okay? And percussions. But really more than percussions, I'm talking about stopping the sound, making sure that the last sound is really short. So here I'm just doing a hammer on and another strum up this time before stopping it. On the F minus seven, I like to play the usual hammer on with the second finger. Before playing the upstroke and stopping it on the G minor seven here is interesting. A life too slowly strand from the a to the B string like then adding the little finger to play the first hammer on the B string. Then on its own the first string and play another humming around with the little finger here. These are two of the embellishments harm neurons that we saw in the exercises to really get strength on the left hand fingers. So that's what we play here. And then the C minus seven, like this. I like to play the C minor seven twice before stopping the sound. Okay, not many precautions, not many are pages really. Just a few embellishments, homeruns and the shell voicing and strumming with the Katas with short sounds. Okay? It's a simple chord progression. Just make sure that you work on the right field to get done. 32. Dominant 9th, Dom7 b9 and chord progression: So now we will introduce dominant seven chord is extended to the ninth and also dominant seven chord, flat nine. So again, altered dominant seven chord. We already saw a few positions for these chords, and we'll obviously see a few more examples. So a few more core progressions in this style, in this R&B and new style. And this will give us the chance to introduce a couple more topics of music theory, like modal interchange and tritone substitution. Let's get started with a chord positions. We'll get started from an A7, but this time we'll be playing the A7 with this voicing root minus six major ninth. So here's the extension. And major third. This is kinda like, similar to the eight-ninths as Florida we saw previously, but we're just moving the first finger back to the major third. Therefore, it's not Sass chord anymore, it's just an 89, okay? In particular, this is an unmet five because there is no fifth 1743, okay? Now, if we move the second finger, we also get an A7 flat nine because we moved the major nine down to the flat nine, or minor nine B-flat. So that's an a nine. Here isn't a seven flux like that. Okay? Then we also need to introduce dominant nine chords with a more funky classic position like this, which is made by root, major third, minor seventh, and major nine, and up to you if you want to play the fifth. So this is a nice flat nine. And if you want to move this nine back here, you get the G7 flat nine. We did see this position previously when we were talking about secondary diminished seventh chords. Because if you take off the root out of this code, you get the diminished seventh chord. So just to recap, these are dominant seven chord is extended to the NYSE, or dominant seven chord flux. Okay, A7, flat seven. Now the first example is in the key of D minor, and it goes like this. So I'm starting from a D minor nine, the one minus seven extended to the ninth. Then B flat major seven, which is the six major seven. E minor seven flat five, or a half-diminished. This is the two in the key of D minor, E minor seven flat five. And then the 57, the A7 First Lady has a nice 79 and then as an A7 flat nine, okay? And the technique that I'm using is finger style, doing a mix of our pages. Percussions, rum with the thumb, hand up stroke, a single string with the thumb. And then as always, percussion and either two notes are saved. Ghost, same here. Let's play it slowly. Remember guys, when I play, you know, our pages followed by a scram and then an upstroke or cassia. The final two sounds. I always like to play them on the G string. And then on the spring where you find the bass note. But it's absolutely if you want to change them as long as rhythmically they are still there for, and that's gonna be absolutely fine. 33. Tritone substitution and chord progression: Now one more example in the key of D minor. I'm starting from a D minor nine. Then I moved to a B flat, but I don t play it as an E flat major seven. The flat six major seven I played as a B flat 69, however, because the voicing is root here on the sixth string, then skip the a major sixth and the note G, the major sixth on the D string, then see which is the major ninth here. So you get root 69, then I get the F, which is the fifth. This code doesn't have the three. It's a B flat 69 or three. Every time that we'll meet the three and we play the two. We can also say SAS to, so it's up to you guys if you want to call this chord B flat 693, or if instead you want to say B-flat six. Okay? It's definitely not an omit. Five, It's the Omid. Three, it's the third that you don't find in this voicing. Alright? So then from here, I moved to the four minus seven, but I like to play it as a minor 11, so G minor 11, okay? And I played a very simple technique, just plucking. So the timing is 12 then three then, but always with a sort of anticipation on the end, on the offbeat when you change the chord, but keeping the back beat with the percussion on 24, then I stay on this G minor 11. And for instance, I play a single note or pay due after the first plucking. But then sometimes I also like to play plucking on the E flat nine, okay? Just because this would be the tritone substitution of the A7, A7 would be the 57, so the secondary dominant. But sometimes you can replace this with the tritone substitution. Now, again, it's not the right place to really go deep into music theory and explain these courts substitutions. But in a nutshell, what I tried to, substitution is basically replacing the original dominant seven chord with another dominant seven chord with a distance of three tones. Just because the key notes, the chord tones of this chord would be the same as the original code, okay, what it used to be the major third and a minus 77 in the 57 are now the major third and a minus 17, the EQ flat seven, which is basically the tritone substitution of this A7. So in the same way as you used to play a secondary dominant or the secondary diminished seven chord, which is nothing but the upper part of this secondary dominant. You can now replace the secondary dominant with a tritone substitution. In a way, you have a double substitutions secondary dominant. 34. Modal interchange and chord progression: Okay, and now let's introduce the modal interchange. The modal interchange guys is when you borrow chords that don't belong to the key you are in, but you don't borrow them from random keys. You borrow them from parallel keys. Parallel keys are all of the keys. They're sharing the same route. So if, for example, we are in the key of D major, we can borrow codes from the key of D minor, D minus the parallel minor. It's not the only parallel scale or parallel key. You might find the Lydian, Mixolydian and so on. All of the modes, basically my generate parallel scales. Really, the most common way of using the modal interchange is definitely by borrowing chords from the parallel minor if you are in a major key or from the parallel major if you are in a minor key. Okay, let's see that with an example. And I'm sure that you will recognize some of these chord substitutions or replacements from some of your favorite songs, some of your favorite R&B tunes. So key of D major, D major seven will be playing something like this, which is a four node pluck of the D major seven with a hammer on of the little thing. Then a single plaque of the first string. Okay, the plaque of the four strings, it's not simultaneous, but it's actually with that delay or embellishment that we discussed the previously almost like a grace note like that. Then we go to Wayne minus seven, minus seven guys, it's the five minus seven and the five minor. It's definitely not a coder you find in a major key, you are used to find a dominant seven chord and the fifth degrees. So if we find a five-minute, we are actually borrowing from D minor, because the key of D minor would find on the fifth degree and eight minus seven, okay, but just taking the five from D minor rather than from the major, then we move to G major seven, which again it is in the key of D major, so we are still in the key of D major, that's the four major seven, right? But then we move to B flat major seven. And again, b-flat major seven doesn't belong to the key of D major. The note B flat is the flat six, so it does appear on the D minor scale, but not on the D major scale. So this code is actually the flat six major seven borrowed from the minor, exactly like the a minus seven. These are the five minor and the flat six major seven borrowed from the minor. Okay, so, so far we got okay, then the second time I play something slightly different. I play the same as D major seven and minus seven, but then I don't play G major seven. I play G minus seven, which again is not in the key of D major, It's in the key of D minor. Cuts the form minus seven, okay? And then I play C7, particularly actually a C9, okay? Which is again not in the key of D major, but it is in the key of D minor. It's the flat seven, dominant seven. Okay, so we've got in this second part, the one major seven in the key of D major. Five minus seven borrowed from D minor. Four minus seven borrowed from the minor. Six dominant seven board from the minor. So many chords are borrowed, but they're all borrowed from the same scale, which is D minor, and it's the parallel minor key. So altogether, the timing of this chord is 12341234. Again, 12341234. Okay? The techniques that I use, again, usual slack bus slowed down like a grace note. Humm around on the second string. Single plaque of the first string for caching black. So Percussion again and again. Now, although this was just an excuse guys to really introduce the modal interchange as a topic, music theory topic to understand this practice of borrowing chords from the parallel minor. In this case, all of these courts substitutions are really common, so you can find them in many R&B tunes. And hopefully, now that you know how the modal interchange works, you can recognize and analyze the cause that you can't explain as belonging to the main key of the tune, okay. 35. Min9 Neo Soul move: Alright guys, so at this stage in the course, it's time to introduce another really important R&B move. And I'm talking about the minus seven minus nine move. You need to start from minus seven chord like fluorescence at the minus seven. And what is very common in R&B and neo soul is that you start by playing a few embellishments on this chord like we did play already in several videos of this course. Like for instance, okay, or, or, you know, up to you really what kind of melody you want to play with this embellishment on the cord. I really like this. With a double hung around with the little finger. And then you slide all the way up to the frack number ten, u bar at the bottom for strings. And you hammer on your little finger on fret 12 doing this. Okay? Now, the reason why you can do this and you are still playing the same chord, D minus seven is because you should think of disposition of the minus seven with a root on the E string, bar friend number ten, or this position which is exactly the same. But if you see this position, move the d from the top to the bottom of your diagram, of your chord diagram really like this, okay? And once you are here, all you do is hammering on your little finger, playing the note E. Now the note E is the ninth. So you're playing a D minor seven and then minus nine. Okay? Really like playing this code here and we already played. But the nice thing is that you can actually play this move quite quickly from the first position to the second position of your d minus seven lives, for instance, like that. Okay? This works every time that you play a minor seven chord. So if we move this to C minus seven to play another example, you can play the same embellishments and then move here to friend number eight, visualizing. What you should visualize guys is disposition of the same minus seven. So, okay, this is really common in R&B and neo soul acoustic guitar. Alright, but now, let's put this in context with other chord into a proper chord progression. Alright, so what am I playing? I'm in the key of a minor and I'm first just playing a groove on the a minus 7, first with this position. Then as an a minor 11, back to the a minus seven position. And then the minor nine moved because it here, I'm literally seeing the same thing we were talking about in D. So I'm playing the bottom part of this core, hammering on the little finger to play the night like that. So what I was playing with a pig and maybe sometimes you might also want to try with the hybrid picking. You play something like okay, what are you mix? Our pages. Plaque with two fingers, cramping and upstroke with the staccato. Okay, So last time playing a C sharp diminished seventh, which is obviously the secondary diminished seven chord, the upper part of an A7 flat nine goes into a D minor seven, okay, which is my four minor. So on the D minor seven, and then also on the E minor 74 minus five, minus I first played a chord with a strumming and then usual double embellishment with the little finger. Then I like to play the F major seven, the flat six major seven. Doing this, or homerun, with the little finger on the B string. And the string with a staccato. At this stage, I actually play a triad, a C major triad. As simple as this. And I play these embellishments. It's a melody really soy first plane your pain. Well, I first played a trial with a straw. Then I hung around the little finger on the B string. I stretch my first finger to play the eighth fret, also on the first string. Then I play even this, not with a little finger on Fred ten. And I slide it to the note E on Fred 12. So like that at this stage, the note that I reached is actually the note that I like to play on the D minor nine moves. So the one that we saw before, I can actually do that. Okay, but from here, continue with the rest of the melody, which means I need to move the little thing there to Fred 13. Let's do it slowly from the C triad. Okay, it'll slide really, so I don't hit the note again, you will hear it obviously quiet compared to when you hit the notes with take. And then from here I play a diminished seven cascade. So that means a series of diminished seven chords. Or would a distance of three semitones like we described many times? Because I want to reach this G-sharp diminished seven, which is the secondary diminished seventh. And it's basically the upper part of an A7 flat, 957 flat nine. So the secondary dominant chord of the a minor, which is the one where I can finish. Hammer on, on the a minus seven, a minor nine. Okay? So the chords that you play in the diminished seven cascade are diminished seventh, diminished seventh, G-sharp diminished seventh. They are obviously always the same chord and then a mine and night. So let's recap. First, I played the groove on the a minus seven, minus 11 minus seven day Monday night. Hi again. C sharp diminished seventh, d minus seven, with a hammer on, double hung around minus seven. F major seven with a single Hammurabi. Staccato, then C major triad, double hammer on slide, D minor nine move, slide, and then cascade of diminished seven chord. D diminished seventh, diminished seventh, G-sharp diminished 789. Okay, so let's put all this together. 36. More about the Neo Soul move example with Dim7 chords: Okay, Now let's explain something more about dulls. The mind and nine move. Now, that move really sounds good when you play a D minus seven, and especially when there is an F major seven in the chord progression as well. Now, the minus seven and F major seven chords are really very similar. When you play this thing here, effectively, you are actually playing an inversion of an F major seven, okay? Because this is an F major triad and this notice the major seventh of the f, So it's the note E. So altogether, this is an inversion of this chord. It's the second inversion, this chord. So this works both as a D minor nine like this, but also as an inversion of an F major seven, okay? So you can use it both ways. Both when you want to play a minus seven minus nine move, or if you just want to play an F major seven moves like that, it really sounds good both way. And also something more about that C major triad Plate here. Effectively this trial, especially when you play this harm their own and it becomes a six is included within the D F major seven shape. So if I look at these three nodes, that's an F Major nine effectively, but the C major triad is within the chord. So every time you play a major seven chord like this, you can then do your move like this one. Okay? So if we were playing the note C major seven, we could play a G major triad and do the move, which is both a move of a minor nine or C major seven. Now let's see another quick example of a chord progression involving some code extensions like mine 11s, the minor nine move on the a minor, and another quick cascade of diminished seventh chords. We are again in the key of a minor, but this time we start from F Major nine with the usual hammer on the G string, that's the flat six major seven. Then we go to the 577 and we kinda like replace the seven with a secondary diminished seventh chords. And we play in G-sharp diminished seventh, which this time slice to be diminished before reaching the a minor again. But when you reach the a minor, you first player name and 11. And then on a Monday night with a minor ninth move, okay, So a little bit of strands. Strands even here. Then slide very quickly than or pages on the a minus 11. And then the Hummer wrong with ascribe to play the a minor nine move, followed by a staccato with a single downstroke. 37. RnB Neo Soul Etude 1: All right guys. So in this final part of this course, we're going to have a look at more chord progressions and acute in the sale of neo soul and Aaron. But this time we won't be talking too much about techniques or code shapes or a harmonic analysis and things like that will be more interesting in getting the proper vibe, the proper RMB and neo soul vibe using backing tracks, the best way to really understand that laid back feel. On the 16th notes in RMB is really practicing this with a proper R&B groove, a drum beat really. Okay, so I'll be going over a few more chord progressions and I'll be also showing you how they sound like the drumbeat that I prepared. I remember guys that you can download this beat, this drumbeat and I made, and you can practice yourself along to the beat. There will be a couple of tempos, 60 BPM and 75 BPM, so that you can choose what is the best tempo for each of the chord progressions that we'll be looking at. And because I only put the drumbeat, so without any base or keys, you can actually use the truck, the backing track, the drumbeat, together with your own guitar recorded on top to start maybe creating something. At the end of the day, this should be the ultimate goal of learning something. Develop a creative process where you can start from these chord progressions if you like them, or maybe select your favorite, use the drumbeat that I created and then start adding any other instruments you like to make your own R&B track or your own RMB beat. And just before we get started, guys, remember that you will find all of the tabs and the music notation for all of the examples in this course available for you to download. The first chord progression starts with a walking bass line of three nodes, G, B flat, and the first-quarter is a C minor seven, played with an arpeggio finger picking with embellishment with one measurement, with the second finger. Then go into G minor, okay? Then a D minor seven arpeggio, stopped with a sort of staccato, and then E flat major seven, again with a staccato hammer on first and management, and then staccato. So we're in the key of G minor and we're playing four minus 71, minus 75, minus seven flats, six major seven. Altogether, it sounds like. So after your page, you and the embellishment, you pluck and play single string or pages wherever you like it. Then you play in our page on the D minor seven. Stop it and play a pretty casual. And then a plot of the E-flat major stem with an embellishment with a usual single notes after the percussion on for. 38. RnB Neo Soul Etude 2: Second chord progression is still based on our pages and plucking, finger picking. And it starts with an F sharp minor seven. G sharp minor seven with a staccato. One diminished seven quarters of passing chord is secondary diminished seven. Diminished seven, c-sharp seven with a hammer on, Okay, and unusual or pages. And then D diminished seventh arpeggio, which slides into an F diminished seventh. These are the two secondary diminished seventh chords guys, to create, as always, the tension to go back to F sharp. This is because when you play the F diminished seven chord guys, you're playing the upper part of a C-sharp seven effectively. Then going back to F-sharp minor, we're in the key of C minor, so this is a form minor, minor and then one minor using a lot of diminished seventh chords as passing chords. Okay, Let's have a look at the groove slowly. Now, a little bit quicker before we played with a backing track. And I'll let's listen to it where the backing tracks so that we can get that proper laid back feel of R&B and neo soul. 39. RnB Neo Soul Etude 3: Okay guys, so two more examples to play with the backing track this time a little bit slower and using the PEC. So the first example uses a couple of shell voicings, B flat minor seven, and a flattened minus 755 minor m for minor. And then one minor, which is the E flat minor seven, because we are in the key of E flat minor, the group is really, they're doing this chromatids and between B flat minor minus, so you pass it through an a minus seven, okay? So we reach obviously an E-flat minor seven with the usual hammer on, on the second finger. And then we do this kind of embellishment. So this is a hammer arm pull off on the first string. And then a couple of single strings played as an unpaid you. And then to go back to the B-flat minor seventh of the chord progression, we play two diminished seven chord, F-sharp, diminished seventh, diminished seventh. This is the upper part of an F seven flat nine, secondary dominant of B flat minor seven. Okay, at this stage of the course, I think, guys, you should be comfortable enough to change something in these chord progressions to make it your own. So sometimes you want to, and some other times you want to play on the flag minus seven, for instance, that's absolutely fine. It's up to you to figure out the best way to make it R&D and to make it closer to your taste. 40. RnB Neo Soul Etude 4: The next chord progression is a little bit longer. It starts with an F Major nine, obviously played with a hammer on, with little finger on the G string. Like this. Okay? And it's based on this groove with the pig. Okay, then next, I'm going to play a secondary dominant, the 57 of a minor, because we are in the key of E minor, and this is going to be an E7, but we're going to make it Ultra. So first, E7 sharp nine, also known as the Hendricks chord, and then he's seven flat nine, okay, Would the same groove as the F Major nine, and then we'll go to a minus seven. So six major seven by seven all tread one minus seven. Okay? Just before reaching the a minus seven, I like to play a chromaticism on the base. So I played me a minus seven, where I play first year minus seven. And then a strong on the a minor 11. Then another chromatids and a flat on the base to reach the G minor seven. And from the G minus seven, I'm going to play a G minor nine moves, the classic mine and I move that we described like this. Okay? This could also be seen as a C seven SaaS. C7 dominant, basically sus4 with the 13th. And I'm talking about this morning here, okay, That's exactly the same thing. Obviously rootless, I think of this code read because it would create a to five to come back. 12th. Okay, So two of the flux six major 75 of the flat six major seven to five to start again. And the confirmation of that is in the last chord, which is a diminished seventh, which as you know guys, this is the upper part of a C seven plus nine. So again, it would be the secondary dominant C7 flat nine of the flat six major seven. So 57 dominant flat nine of the flat six major seven played rootless, generate the secondary diminished seventh chord, E, diminished seventh. Okay? So altogether, and you start again. So the courts guys, F Major nine, E7 sharp 97 flat nine, then a minus seven, minus 11. Then g minus seven, G minor nine move or C7 sus4 with the 13th than diminished seven, start again, groove, pretty much this one. Okay, but feel free to play our pages. I'll do that now with the backing track and you can see how you can create variations to the same group. 41. RnB Neo Soul Etude 5: One more chord progression, guys, one more variation to something that we played before. So we're spilling the key of E minor. We're playing finger picking starting from the flat six major seven. In this case, this is an F Major nine. Then E7, classic 57, and then a minor seven with this position here. Then to start again, we play a couple of secondary diminished seven Chord, C-sharp diminished seventh, diminished seven. Okay, this is the upper part of a C7 flat nine, as we know. Therefore, we can play the 51 basically to go back to the flat six major seven, which is F Major nine. I like to play this kind of groove, which Shays for note or page. Percussion and the usual two nodes after the percussion index on the G string and thumb on the base. Okay? I played the same on D7 on the a minus seven. Instead, I like to plot my code rather than playing an arpeggio. So I plot, lay the base play the highest node, percussion, unusual 2-nodes after the percussion. Okay, Then for the diminished seven chords, the thing that I really like when I play diminished seven chord, displaying on our page on the first source for single notes. And just slide to the next one to the diminished seventh, listening to the sign of this chord just coming from the slide. And maybe if you can also play a tiny vibrato when you left them. Like That sounds really great. And then altogether, let's do it slowly first. And now we're going to practice it with a backing track at 75 ppm. Okay, guys, remember that you can download the drumbeat if you like it, and create something with it. Add your own guitar and maybe y-naught piano, bass, any other instruments you like to get your R&B groove to get your neo soul tracks. 42. Conclusion: All right guys, we are at the end of this course. So if you made it this far, congratulations and thank you for choosing this course and for choosing me as your instructor. I had a lot of fun planning and filming this course for you, and I hope you had a lot of fun too. You've now learned how to play R&B and Neil, So acoustic guitar, let me know if you want me to create a similar course on R&B and new. So for electric guitar, Why not? You can always use the material in this course to review some interesting musical concepts. Or you can take it from here to develop your music journey, okay, if you wish, guys, you can use the chord progression that you've learned in this course, along with my drum beat, the drum, the neo soul drumbeat that I provided to create your own R&D and Neil soybeans. Okay, guys, if you want to connect with me, you'll find me on YouTube or mychannel the beer guitar is, or you can message me on Instagram. My profile on Instagram is, it's underscore the beauty guitarists. Okay, thanks a lot guys, and see you soon.