Transcripts
1. Intermediate Level Overview: Welcome to the intermediate level of this course. If you are taken this part, then it's assumed that you already know all the concepts explained in the beginner level. If not, I would recommend that you take the beginner level before taking this part of the course. Now in this part we'll be looking at southern chords and ninth course, as well as 11th courts. Now we're exploring these scores into detail with the relative voicings. And we have other supplementary lessons will be used in, along the way as well. I wanted to ask you to keep on and all the best, even as you go on to this part and explore the course that I fought here, and I'll see you in the next lesson.
2. 6th Chords Explained: Hi, let's talk about six chords. Now say scores, just an addition onto major and minor chords. So you have a major chord and you add a sixth nodes onto it. You have a major six. And if you have a minor coordinate, other 600 to 8000 and minus six. Okay, so the simple formula for access global v1, three of floods, three. So as the three is going to be for the major and the flattery will be for the minor, and the five, then the six. Ok, so, and the key of C, for a C major chord, you have these three nodes, 123. Okay? Now we're going to need to add an extra nodes here. So for this, I'm going to change my fingers and I'm going to use my fingers. Okay, so 123, okay, and then this is my sixth note, right? So the moment I add that with, I have a C major six, okay? So on my left I can either play, I can play the one in the file planar 16 or the 156 is completely up to you. Ok. I think I'll stick with 15. Okay. So let's try it in another key, key of F, F major six. So this is the F-Major chord. At my six, I have my major six. Now what about the minor chord? Okay, so C minor carries my first briefing is, and then I add my six set of c minus x, F minor, and my six to it. Okay? C-sharp Minor, MI6. As, as simple as that. Okay, so just try to practice this on your own and pick up the cycle, cycle of fifths. You can try to go around the cycle with your sister Kayser. I'll play four chords or so, and then pause the video, try to figure it out and play it on your own, stuff on the sea and move to the left. So 1234, C major, the F major six, the B-flat major six to the E-flat major sticks to the A-flat major six. Let's finish it. G flat major, B major six. And the email just when a manuscript to a D major six to a G major six. And back to a C major six. Okay? Pause the video, try to see if you can play this. You don't have to necessarily go that fast. You can, as long as you able to figure out the code, figure out a major chord and audio Sixto is thus perfect. Afterwards, let's try the minor six k. So that's the c minus x to an F minus six to a B flat minor, six to an E-flat, E-flat minor six. Okay, so keep moving in that order. Just play the first three notes and then you add your 69. And to make it easy for you to find your six node is a torn away from the phi. So the moment I hit my minor chord here, E-flat, I know that my sex is only a torn away, so I just hold that down. If I bolted Annex one according to the cycle, which is a flood, played an E-flat minor. These are the tone on top. That's an a flat minus six. D flat minor, additonal top, k, g Flatow, F-sharp minor. And I add my sex on top of it. Try to go through this. The most important thing for me is for you to be able to figure out what the six coordinates and if you find them in a courtroom, but then you know what to play that particular instance.
3. Major and Minor 6/9 Chords Explained: Hi, Our next core type is a 69 chord. So we already spoke about six cores, which you play by adding S6 on top of a major to form a major six, and add an S6 to a minor to form a minor 669 chord. You're just going to add a nine onto this. Let's go into it. So now, and nine is the same as a two, basically. So if you go up in scale, for example, the key of C, 1234567. This is one, but if you see it as a, then the next nodes becomes a nine. So 1234567891011121314 in that order. Ok. But we usually don't use 12414 where we are using most of the time our minds 11s and 13. So okay, those are the core extensions we use. So for a 69 chord, a major 69 code, you're going to play you 135, add the sixth widths. So you see on the screen that is becomes a major six and then add a nine to it, and then it becomes a 69 chord. Okay? Now, you see that without, without a six, if you add this line, it's not going to be called a nine. So this is something I want you to take note off without a six to nine doesn't get the name line because in order for the mind to be called the nine, there should be a 607 present. Okay, so FDA six or seven is not present and you hit that note. It's still a true. Okay, so the six or seven will allow us to now become a nine caudal extension. Okay, so that's the difference. So you realize that if I hold this major core Dow and I price this automatic code generators tells you it's a major addtwo, right? But if the sex was to be present and I added a two, now it's called a sex nine. If a seven was present, and I added this one, it will become a major line. So that's a short explanation of that. We'll get more into inter DES k. So that's your major, 6913569. And you can voice it anyhow you want. Usually I like to play my first three nodes here and then I played 69 and maybe I top up with the top up with five on top. So just some, something like this. So I'm plane six to the sixth line and five on top of the Major chord. So if I go into any key, the key of F, I'm just going to hold major down 65, like that to plan. F 69, a G6, G9, a hole that's so C6 nine. F6 nine, G6 nine. Let's try another one, a, A6 nine. Okay, so I play my major triad down and then I had my sex, my nine and up with a five. If you'd like, you can just play these notes and still fine. Okay. Moving on to the next one. So the sex NIH has a couple of symbols. Sum, you see it written as six struck nine. In some books we see, see them written as just 69. So you can, any of them is still the same thing. Okay, moving on to the minor 69 chord. So just the same thing, but it's a minor chord with a six and the nine. Okay, so voice it similarly, apply my 695 and the outputs, the minor courses, quite similar major. And then by just reducing this, I have a minus 69. So f minus x nine, g minus 69. Okay? A minus 69. Okay? So it's as simple as got similar symbol, use for that as well. So for just pick up, goes through the keys. You can start from C or pick up the cycle of fourths, which you've seen in many adolescents. Go through the courts and play all your 69 chords. It doesn't have to be fluid and consistent. But as long as you are able to find it, whenever you meet them in a court chats or song sheets or lead jazz lead sheet. You can be able to simply constructed and completes the song. So I'm glad you joined me for this lesson. Once you are done practicing this, head on to the next lesson, and let's look into other core types.
4. Song Session 4 - Silent Night (DEMO): Right? Me, me, me, me.
5. Song Session 4 - Silent Night (BREAKDOWN): Alright, so let's apply some 669 chord to chord progression for Silent Night. Now, as you can see on the screen of the regular Major and starts to courts, to 6-9 courts. Ok, so the first one, E-flat 69, and this would be our regular E-flat scored. Points. Add the nine and the bottom here. Add the two up here on top. Okay. Well either to appear. So that gives me an E-flat 69. So I'm seeing it as playing a major act to code in my rights. And then with the 156 year. So I introduce regular Major chord like that. I introduce a six here and the line in there, right? So the first line, please. And then regular E-flat major, again, E flat major, B flat to B flat major, and then a flat major six. So a major six is just a major chord with S6. So with that some plane, a regular major chord. And I'm only using my thumb to help me add the six to the left to form a major six. If you play the second line, that's to be fluxes due to a major, major six to an E flat. A next line, regular E-flat, with a major six, E-flat major. Next line, holy infant, you have a flat major and then I add my six. Then E flats us to sleep in heavily. B-flat, diminish. And then C minor nine plus C minus six. So C minor five, I only need to add my 61223123456. So that's an E-flat minor plastics. But phi one flat 356, e minus x, right? That's, that's a very nice sound. That's actually So then if blood SAS for E flats, so just try and pick out a plane at this. But progression on your own. Pause the video both through the song as we played it, and try and play correlation by itself. So I'll go through the progression. One mod psi x nine. Hi, E-flat, C nine. Guideline, played very slow. And then n line, both line. Though AV and the B-flat. Find OSX. If that's as far a. And let's guess that. Try and nag. Get your hand around playing this. This is just for you to practice. Six chords. You can add six or nine CE to your read law, major and minor chords, as long as they sound good when you do them. So try this out and try and see if you can be able to pick up some old songs you already know and then make some of the major and minor ports. Major six or minus six or, or even 69 coin. And see how that goes. Happy practicing, and I'll see you in the next lesson.
6. Right Hand Patterns (Supplementary Lesson): Hello everyone and welcome to today's lesson. Now in this lesson, we are going to take a look at right-hand patterns. So by the end of this lesson, you'll be able to understand how some of these intros and caught patterns are generated. For example, you probably have heard this before. You can create several ones now. These are very, very simple patterns that are used to create amazing music. Okay? And all you need to do is to follow just a few steps, okay? Now, the first step is you need to know exactly the chord progression you want to play is going to be three steps. Now, you need to figure out what chord progression you want to use. So let's go to the key of C, for example. Okay? And then let's choose a chord progression like the C to the g, to the a minor and F. In other words, this can be called the 1e to the 564. Okay? Now, so that's the first step. And you need to figure out what parts and you want to use on your italic. Okay? So second step is you want to figure out what pattern you want to use. Okay? So in this code, you realize that the three notes, for example here, okay? And there are so many patterns you can form within the four counts. So for example, you can fall one pattern like if you see this to be 135, or if you went to see him as 1-2-3 stars has three nodes. So the first pattern could, for example, be maybe 12311. So, so now the best of partners, but this is just one example so that the progression would then be, if you use this on the other, costs are going to be either left-hand. Ok. And by just playing these patterns is slow them down and you play it. Okay, so for example, if I choose another part is similar to the one that I played the beginning of the video is going to be, that's pattern is Malek 123123123123. Ok, so make sure you stick with the patents. There's going to be playing this over. The one that and you can play this on a different progression, Laissez obligation as 1524, or a C to a G, a D minor, and a four plus F major that you can just go to the same party. Okay? So there's our right-hand patterns and you can get creative trust. Hey, you can decide to, if you can decide to play this fathers anyhow you want. There are so many ways you can find me, you can, besides OK, I want to go see that. So that's a somewhat at three minus two. On the same progression list goes on. And I think this was used in a particular song. Lots of law really try that, but it's, it goes like so that's the part that he has is using a plasma, a card but as inverted. So we'll talk about down the thirst. Says inverter like that. Okay, very good. So once again to the test that will take these two examples and analyze how they probably found it. And so you can form yes. So the first step, you figured the progression. So for example, if the song is already there, you wanna create an intro. You pick the song progression, and then you sit down, try some of these patterns. 123212313231, whatever you want to k, you play them. If the sounds good to you, you're the musician. So if it sounds good to use tech to wet, okay? And then after you, after you get this, you play them over the chord progression. Now, the next thing is maybe you, your song progression already has. You've already figured out that according versions you're going to be using for this. So the first step is if you have cloudy versions you are using for this advice that he then use quality versus to play these patterns. So for example, if you have in the progression by user, if you're playing as C to a, G, to an a minor, and F major. So if you're playing a, for example, like this, like that. Ok. So all you're going to be used in as and if you want to play, for example, you're playing there. And a lot to say again, to play the seti, which slow down. K12. K12. Okay. Like that. Very simple. Okay, so you find your cart, you find the pots and you want to choose. And I'll give an example of patterns. And then you find which if you have them in new versions, you play them over the iterations. And those are really good. So just to end it, I can show you how the song in trials maybe for I believe this until someone like you. And it's a very good example, right? So for that split in the key of a and the fast squatter settlement at a major chord. Okay? And then you take it to the a flux. This is C sharp minor chord of either a flat. It's just a C-sharp Minor cord, pretty much by then. You have the, a flat at the bottom here. So you move from that to that. So fast you need to practice the cause. Let me show you how the cost down before you start using your patterns, right? So C, a to that. And then it goes to the F sharp. Like that snapshot is just F sharp. Chapter showed some simple Octavia hard with a Perfect fifth. And then you go to that, the d quark with this kind of inversion again. So you try. So it goes back to 23412 as important to get a time and as well, right? And then the next step is okay, what parts of the play I use it as using wire 2.3.2 region as going to be a similar pattern throughout. Then you play it slowly. Same parts at a different card. To Thus pretty much the whole song is beautiful, right? The next one as Santa Nazi shell or the solid Sanger is probably hang out. But if you know, as you probably know. That's, it's also going to play Nicaea AS well. Okay, so we're gonna play, is an E major chord to a, b minor chord, to a, to an F sharp minor, to D major. Never look at it. One is going to be the progression. And one to a two which is a minor. So a six which is the minor, and then a four which is a major, okay, by displayed an inversion, so A's and B's inversions. These are the second inversion for the acorn is an independent fashion BY Anaconda to card. And then using a second inversion, F sharp corner the sixfold and coming down to the normal route physician for the foci. So it goes. And then the next point is going to be, so you practice this chord progression, make sure you get it for the time it is important. For, after you get that down, then you got to take part in what pattern did they play? Last? One-to-one, right? Okay. So okay, so let's think again. Get an actress on day added a few nos events, Satellite. Yes, I'm like that's not too sure. Nonetheless into it and try to play it vividly, but it's ok. So this, this is, this is how you is as I'm trying to get your mind to it, that you can create the songs on your own. And it's perfectly okay to choose your own patterns and how you want to play them. But if you hear them in songs, you should be able to hear them. Take the steps that are shown in three steps. You've phase Ghana progression. You practice the progression and get used to with second, you'll find out a pattern and play it. And if you are making your own music, if possible, try to use chord inversions and sound much, much better. Okay, so thank you for joining today's lesson. And see in the next line.
7. Left Hand Patterns (Supplementary Lesson): Hello guys and welcome to today's lesson. Today we'll be taking a look at left hand patterns. In the previous lesson, we took a look at the right-hand patterns. And today we'll be going into the left-hand patterns. For the purpose of this tutorial, of course, we'll take a look at much more of the basic patterns, simple patterns that you could do with your left hand when you are play. So I mean, when you are playing for, let's say, let's take an example of a chord progression in the key of C. Let's take the 1564, which is our popular chord progression. So that's the one, right? And then the five, which is the G. And then this safes, which is the a minor, and a four. Okay? So if we add our left-hand two, it would usually play the wine five-year. Alright, so today four, then 234434, right? Okay. Now, what if we wanted to do some nice patterns on the left to make a sound. And let's adjust a little better. Okay. So the first part will look into hears the 1-5-1 paths and as I like to call it, so this is the one, OK. And thus the five, even though you're playing with your fourth finger, does a five of the court. And then the one. So you try to stretch your hand to sort of reach these octave note here. Okay, so, okay, so each time you strike a chord, you can just play the 1-5-1. This is going to sound like 343434. Ok. So I'll take it I ingest a left-hand. So the C, G, and C, The 1-5-1 Ada, the C15, 100 g. K, same patentee routes. And then the a minor stays 1-5-1, and further F-major. Okay. Very good. And you do that while playing the same chords on the nighttime. Okay? Now, if you're familiar or your conversations with the chord inversions by now, you can try to get a coordinate version that makes it sound a lot better. Because what I like to advice is that you try to keep, make sure that there's not a lot of gap in between, right? For example, if you play the score, if laid a C here and play the 1-5-1. You can see that there's G below here is left vacant. So you have a very huge gap in-between here, right? In-between the a half. Krita, here's gonna, so in this case, I'll prefer to go with a different inversion of the chord by ad-Din bringing the G to the bottom here. So I playing this version of the sea coordinates then, all right, so if you do, then obviously if you want to go to the five chord, as we did previously, the five chord is F G code rate. So this notes as okay, that notes it's not to the G chord. I need to bring it close to a notes there, and then, right? And then to the a minor and F. Okay, so this is the a minor. If I want to move to the six If automotive Ford and I guess this is part of, this is part two of the four, but that's not part of the basic four. So I need to take it up, right? So it's going to be 1234123412341234, right? Excellent. So that's let's try it out with that. 1-5-1, 234123442234244234. I gave. Very good. So that's the first fatten. Try and practice with this in Iraqis as well, in the key of C sharp. So that's okay, simple Gaussian with a quite inversion. If you're not okay with God, and just leave it blank in root position. Okay. That's okay for frack practice. Okay. Yeah. So just our plates in root position and so they are conversations with them. So one 5-1 patterns slowly, right. Okay. Sclera along with me. Bag it. Let's take it in an ascii way. Not okay. So take it up. Yeah. Okay. Very good. Try this in all the other keys. Nokia smart, difficult Indiana or that it takes is to practice. Okay? So there's no better KI. Okay, very good. Then. We'll take the NES left-hand pattern. So the left-hand path that is quite symmetrical, alpha_ i1. I call this a 15 to try and it's either C. Again. This is 1-5-1. And obviously the two is just a tone after the one k. So just to spice it up a little bit. So you're going to play like write two by five to 15 to the k. Because the dot, dot, dot mine the right-hand part, things at play and you can't just play a basic chords for now, OK, if you want to let them, if I lead them as well. Okay. Okay. So there's a 1-5-1. If I try it in the key of, let's say key of F, k, that's going to be okay, very good. Let's try the, let's take the last part on the left-hand side caught is a 1-5-1, 2-3. Okay. Try and into the sea. So 1512345123. Okay. So 151, then if is kept there and bring this finger here. And then the Falcons, lots of data three, ok, so 15123. Okay, 15123 on the sexes, 15123. So just keep leaf notes that are within the major scale because my get tricky on there. There are six, right? So this is the sixth chord, and this is one that's 23 is here, okay, is a minor third. We haven't gone into intervals yet, but that's the minor third. Okay? So, so 151234. So using the same chord progression. So you can choose to play it a little faster with the cards. As got two C-sharp, right? Yeah. The same idea. Okay, so make sure that when you play these things, you you play in some of the keys, you need to play them the best, the best way that your fingers feel comfortable, right? Surface on a, D, C. So that's a bit tricky. There aren't 5123, okay? So the, the D and the a is because a three goes up, is difficult to play. It's my 55 to a thumb, thus difficult. So go give layer like this 15235 to have suffering or goes there. So if I try and play the cubes and the key of D, Okay? And similar thing here. Okay? This is fine and this Ibarra. Okay, so that was it for today's lesson. Left-hand patterns. If you can just create your own music with these. If you have a song, he can choose to sometimes play them in any progression whatsoever. He have 151524 progression in the key of C. You can easily do. It, makes it sound much better. If when it creates your interests. You can easily add their right-hand patterns to the left-hand patterns, right? So for example, I don't know, let me try and make something up if I want to go there. That by itself. Okay. So A123, one-to-one. Okay. Remember, so you're going to go so that's what the law FIFA game. You can just try and get more creative and creates different patterns in there. And I'll make your place on much, much better. Okay, so go out there and explore and thank you for joining today's lesson. See you in the next one.
8. Major 7 Chords: Hi and welcome. In this lesson, we'll be taking a look at major seven chords. Now, you can see major southern courts as a major chord with a major seven interval. So in other words, it's going to be a 1357 out of the major scale. Okay? So that's basically how you Constructed Major seven chord in the key of C. The 135 for this are famous major chord. And then the seventh, which is that K. And you form a C Major seven chord, as easy as that. Now my trick that I use as usual is to see the Major seven note that I've added on top as a semitone below the one. Okay, so every single key, I can play this with ease. For example, in the key of F, I play my majors major chord. And I know that's the majors of a node is a semitone below the one. Okay, so I just added on top, of course you can add it below. And is still the same thing. Okay, that's, there'll be an inversion, so either on top. Okay, so if we try to play this, all the 12 major seven chords, C Major seven on top, semitone below, C, C sharp major seven on top. So the fingering you can use for these major seven chords and generally, all a sudden courts is to use your 123 to play the major chord or a minor chord which uveitis. And then you use the little finger, the pinky to play the seventh, okay, so C-sharp major, and then add a sudden 2K, then D major, the seventies, the semitone below that. That's a D major seven, E-flat major. And the semitone is going to be below that. E flat major seven. C major seven, F major seven, F sharp major surveying. G major seven, a flat major seven. A major seven. B flat major seven. B major seven. Back to the C major. Someone tried to practice this many times. Okay. Now, let's look at we will look at some of the voices now, just before we go into that a courtyard, you may see a major seven written as MAG j seven. Or you can see a triangle. And in most, most of the jazz lead sheets you see a triangle. So if you see F and a triangle, that's an F major seven, and so on. Ok. Now, so I've status, I'm examples of the major seven chord C, m. Now, what are some of our voice and options is going to be something similar to what we did for the dominant seven chord. Okay, so your first option, you can use putting our famous 1-5 in the left and then play the whole code in your right. Okay, so if you're playing a chord progression. It's maybe a G to a C major seven. You can do that, okay? Okay, so that's as C Major seven. So that's the first voice an option. Which had a voice an option, of course, you can put a 15 and a seven in your left hand. Like this. And then you play, sorry, some major southern zone like this. And then you play either it played a full Major seven in your item as well. Or you can put 135, which is just a major. Sounds very nice, right? The major seven, Casals and lot jazzy. And in gospel, you are sure to use a lot of major seven because gospel is just some jazz fusion. To be honest. Most of the things using jazz applied and using Gospel easily. Okay, so that's your major seven chord. Okay? So want to try out the voice is going to be like this. F, Okay, C-sharp, 15, seven In the left. And there's just a major corn. And that's an easy one, right? But let's look at another voice, an option, 17 year left, and then 3.5.1 in your right. So 117 year left, 3.5.1 and you still get your major seven chord. Okay? You could have also done this, does what we did. The first item is quite openness voicing, okay? So and of course has the always, you can always have other inventions in your right hand. So you can do other invasions of the major seven chord. And when you practice these measures have been course, try and get them in ADA inversion. So another invention will be like this. This is a very popular inversion that I usually use myself. And this is also one that I use quite often, and I use it usually on the six and the six. So in the key of C, when I'm playing the sixth chord, most of the time I'm playing the six and a non planer major seven of the c, like that forms Kolkata minor nine chord. Okay? So we'll get to, in the lucky position. We'll get to a lot of that habit zone in other lessons. Okay, so try, try and move around. Play all the major southern cause. Be able to play them like so easily without thinking too much about, just quiz yourself with major seven chords and make sure that you're able to easily play them if you come across them in a core chat in a lead sheets. Ok, thank you for joining me today and I'll see you in the next lesson.
9. Dominant 7 Chords: Hi and welcome to this lesson. In this lesson we'll be looking at dominant seven chords and its related voices. Okay? Now, how do we construct dominance? Of course, you can see a dominance of unquote as a major chord with a minor seventh interval added onto it. Okay, so in the key of C, for example, if you want to form a C dominant seven chord, you all, you need to place a C major chord. And then you add the minus seven interval. And if you know your intervals, minus of an interval is the major subinterval reduced by a semitone. So this is a major subinterval out of the major scale, 1234567. Okay? Does a Major seven agent, and if you reduce it by a semitone, does a minus an integral. Okay? So if I play my major chord and I add the minus seventh, that forms a dominant seven. So dominant, dominance of mechanized liberalism as a seven. Okay, so if you see a core chat and you see a chord like C7, F seven, b seven. These are dominant seven chords, major chord with a minus seven interval added on top. Okay? So in other words, is going to be 135135 and flat seven. Okay? So let's see if we want to form an EFS F7 chord. So I know the F-Major chord. So 135. And I know this, the seven. So I just flooded. It is by semitone and that's an F dominant seven chord. Okay? Now, so as I said, the dominant seven chord can be written as a DOM seven or simply seven to make it easier. Okay, so let's form another dominant seven chord like that, C-sharp dominant seven chord. All I need to know is my C-sharp major chord, a flat seven nodes. Ok, I'll show you a little tricky, and this is how I personally get dominance of inequity. I see the, I see that the minor seven nodes acetone below the one. Okay? So that's all I'm doing. I know this is the major chord. Does, okay? I'm just picking a naught which is a tone below the one. Okay? So that's that nodes. This is the one I drop it down, and that's dominant seven. Okay? So if I go into any key, for example, Aidem A7, all I need to play a major. I know that my one located up here, and I play the notes which is a tone below, so 12. And that's an A7. K. Can do this for a couple of for the rest of the other courts. Ok. So let's do it and semitones. So that's a C dominant seven. And I'll be a C dominant seven. Now be a D7 kilomole add-in. And nodes below now be an E-flat seven. Now be an E7, F7, F sharp seven tried to practice a lightness. Okay, so you're sure you know your sentence by hunters and a flat seven, A7, K B flat seven. B seven, and sorry, back to the C7. Okay, now let's look at how, what kind of voices we can use. If you are to meet this goal in a core charge or you want to apply it anyway. Okay, so Lasker voice interactions. Now first, you can easily play it by playing the four chord and your right. And then just a 15 in your left. So you played a C dominant seven line, that's 15 in your left and then 135 flat seven in your right. Okay. Yeah. So that's F seven will be like this. And then MCF7, G7, okay. Another option would be to play the 15 and the flat seven in your left hand. And then you can play it as a one 35-year right pyramid. So you can play the 157 in your left. Okay? And he played just though, 135 in there, right? So it's going to be something like this. You place a sample major accordingly, right? And then the left-hand has 15 and flat seven, okay? The third option would be to play only the one and flat seven. Okay. And then you play a 3.5.1. So all I'm doing is to guess, rearrange and unknowns. You can play around with the voices, figuring out the voices that sounds nice to you. And you have decided on what you want to use, basically. So this is another voice and you can try that in every single key. Okay? Okay. Now you, you can, you can of course use in versions of the same Dominant seven chord. So for example, for the C dominant seven, ok. You can always inverted. E can take the first inversion of this chord of the scored, which is going to be by removing, does not, and taken it up. And that's going to be the same. C dominant seven. C seven. Another inversion will be this. And another inversion. For F7. Partic first inversion, second inversion, third inversion. So you're going to choose this inversion based on, for example, walk, walk, or kind of voice enters requirement. I can try to dementia may be in the key of C. So here, amazing ways. So it's going to be as a normal C-Major chord to a C dominant seven. So, so amazing is, okay. I'm choosing just kind of inversion because the melody says, okay, so that's all I need are not on top, so that's why I choose that. So in that order, we'll talk more about voices later, but try and move around and play every single dominant seven chord or some other single seven chord on the keyboard. Try and be able to play them around the cycle of fourths and move easily so that you'll be able to locate the Xcode anytime that is called a point. Thank you for joining me and I'll see you in the next lesson.
10. Minor 7 Chords: Hi and welcome. In this lesson we'll be taking a look at minus seven court. Now, minus seven chord can easily be seen as a minor coil with a minus of an interval. So a minor chord has one flat 35, and then the flux of an interval is just added on top to make it one flat 35, flat seven. Let's take a look into other ways of constructing this. Okay, so how you constructed as what I just talked about, you have one, flat 35 and flat seven. Now, minus oven can either be written as the key focus like a C MIN seven. Like if I play this, this is what, sorry, this is what appears on your screen. Or in certain jazz Lifshitz, they can be written as minus c minus seven. Okay, so that's an easy way of writing it, is that in books that can also be written as a C, the small letter M and a seven letters are just different ways of writing the same chord. C minor seven is going to be C minor chord. So one is the three flat 35. And then a flat seven. Flat seven, as I've already said, is, can easily be seen as a tone below that one. Okay? So if I have my minor chord and I want to add a minus, make it at minus seven. All I have to do is to add that node, which is a tone below the one. And I have my C minus. Let's try it for other minor seven. F minor chord. Add the notes atone below. As an F minor seven. F sharp minor seven, F sharp minor chord, plus a seventh plus F sharp minor seven. Okay? So you can try to take it around in, increase in, in semi-tones. C minor seven. C sharp minor seven. D minor seven does an easy one. E-flat minor seven. E minor seven, F minus n. F sharp minor seven. G minor seven. A flat minor seven, a minor seven, B flat minor seven, b minus seven, and then back to a C minus seven. Okay? So you see that for those nodes where the seven dots is going into the Black, I can't play it with my pinky, so I just played that with my fourth thing. Okay. So for most of the other ones in the black keys is going to be the 13123 fingers playing the first three notes and then the pinky play cement, but 10cm over here, then you have to adjust like this. Okay. Very good. Now, let's take a look at some voice and options. Okay? So as we've already said, the easiest voice and has to put the one and the five in your lifetime. So c minus m, Just like that, f minus m, g minus a, and back to the k. So an F minor seven, G minor seven, back to c minus one. Okay, that's the first, the easiest voice. And you can also play it with 157 and your left hand. So it's going to be like that phi used by playing the same chord progression, C to F to G to C. So C minor seven, F minor seven, G minor seven, K, and C. Ok. Next voice an auction. And these are just options, so feel free to explore with any kind of voice and that you may come up with. You can always use the other innovations as well. So the next voice an option can be just a 17 in the left. And then the flux to be floods three, the five and the flat seven. Okay? So you see that this is beginning to look like a major chord of the relative minor note at a relative major. So later you know what relative minor is a relative majors are, but if you play a C minor chord, the notes out of the C minor scale are similar to the nodes, are the same as the nodes on the inflaton major scale. So that's why it is looking like an E flat major chord here of a Anat. Okay? So if you notice already, this would be just a reminder. Okay? So just try and get these kind of voices. So or Am plane is like a major chord. Three semitones up. C. Look at the minor third notes and clay major coordinate. And the dose is working perfectly. So. Okay. Perfect. So as, as always I say that you can easily get, use the inversions tried to find inversions on the C minor chord, for example. Okay? Because, and it's played on a seat for it that you can try and play around with some of the recorded version so that you can easily find them out when you meet them in songs, okay? Yes, thank you for joining me in this lesson, and good luck and see you in the next lesson.
11. Minor Major 7 Chords: Hello and welcome to this lesson. Now in this lesson we'll be taking a look at the minor, major seven chord and its related voice in millimeters of uncoiled is quite an interesting coin because you use, seldom use it in in gospel on temporary music. It's used mostly in jazz, but for the sake of introducing it to all the common types of seventh chords they are. And I decided to talk about this major seven chord. So this is good to know. You might not be using it as much as an intermediate player or even an advanced gospel player. Let's get into it. Now. How do you construct a minor, major seven chord? Okay? It's, as the name implies, it's a minor chord with a major seventh interval built up on top of it. Okay, so that means the minor chord is a one flux 35. Then you add a seven knots, the flat seven, because a major seven interval on top of it in the key of C, this is going to look like and the minor chord, one flat 35, okay? And then you add the major seven chord, right? So, so you can see that's a minor, major seven chord. So this is written as MIN MJ. Then the seven K. In some books you may see this written as small m, big M, and the seven. Okay? So let's, let's play around with some of the minor Major seven courts. For example, the E-flat minor Major seven. E-flat minor Major seven. Okay? So of course, if you want to pick this up easily, know what internally or putting on top of it, you pick your E-flat minor and major seven as a semitone below the one, right? So I just put that on top of it. Okay, F minor, major southern sound, sound is quite diffident and have an interesting sound, to be honest. This another, let's try another one. A B minor, B minor, C major seven, okay? So try and locate some of these cores very easily. Say an, a flat minor majors on E-flat minor and the major southern. Okay, very good. So let's look at how the voice and options. Of course, as always, you can play the 15 in the upper left, and then the whole code interact. Ok. By now. You can also play the 157157, sorry, 1577 says the minor Major seven. And then you play just the one, flat 35. The triad in mind. Sounds good. Alignments voice. And then the next last one will be to play the one and the seven. And then you play the flat 357. And that sounds very good as well. But depending on what kind of song you are playing and voice and of your choice, you can easily play the minor Major seven was don't get too bored with blending the seven cores because trust me, you're going to be using them a lot. So by the time you start using them, if you haven't practiced them enough to know them of head. You might then start rethinking, going back to your seven quarts and practicing them. So I really recommend that you practice all your seventh chords very well. Of course, try to get out the inversions, different inversions of the minor, major southern corn, okay? And that's by trying to get that, you easily be able to move around the keyboard. So if I practice work before you move on to the next lesson, try and play the minor, major seven chord. Moving up and down and semitones, right? Okay, like that until you really have a firm grip on the minor, major seven chord. Thank you for joining me in this lesson, and I'll see you in the next one.
12. Half Diminished 7 Chords : Hi, and welcome to this lesson. In this lesson we'll be taking a look at half-diminished seven chord voicings. Okay, so now I have diminished seven can be seen as a diminished chord with a minus seven into Wow, on top. And later when we look at the full diminished seven, you'll understand why this is called a half-diminished seven. Let's get into how to construct half-diminished seven quarts. So as I said, it's a diminished colder than minus 78 alone. And from what you know from diminished chord, the B Diminished chord is the one flat three and flat five. So a C diminished chord is going to be one flat three, flat five. And then you just add the minus adenine phenomenon to. Okay. Now on your screen you see that this is called a minor seven flat five. What this, That's another name for the half-diminished seven chords. Okay, so you remember minus a minus like that. So if you flatten the five as a minor seven flat five, and this is a half, half-diminished chord. Okay? Very good. Now, this, this half-diminished chord voicing is also quite important because it works quite nicely for the seven chord if you want to play it as a passive Most of the time. Okay? So as I said, half-diminished seven, this one, flat three, flat five, and flat seven. Okay? In, in books or core shut you may see the Hamlet diminished retina and all that's slashed. Okay. So let's practice some of the half-diminished courts. For example, the E half-diminished chord is going to be an E diminished chord, one. So this is the E major chord. If you flush to the three and floods the five, any art. Flat seven to flux seven. Of course it's only tone below one. So I put that on top and I have an E minor seven flat five, or an E half diminished seventh. Okay, let's try another one, a half-diminished seven. So I play on a diminished seven, SR and a diminished chord, which is a major chord. So flat three, flat five. And then I add the seventh on top, right? So there are forms that a minor seven flat five, which is also a half. Diminished seven. Let's look at some of the core, the voices. As always, you can just add. Puts though, the one, end the flat five in your left hand. So you can have one and flat five in your left. And then you can have the whole code on your left, on your, on your right. Okay? So what I used to play a chord progression like 736 in the key of C Sharp and placed online. So that's the same way. And we'll learn a bit later. So that's why it's important to know your half-diminished seven voices. The voice and I'm using in this case is this kind of voice, wildland, 1-5 year and likely the flat seven, flat three, and flat five in my right hand. So that's what I'm using in this chord progression, 73 and the six. Ok, so for example, just to keep you interested, if one player song-like, how good is our God? How grey is me? So I use a 73, 66, I grab legislate. How grey is saying when me and go straight to the, to the six. But to make it more interesting, I can break the Indus chord to form a progression. And then, okay, so this is why we need to learn all our seven chords. Because they play a huge role, okay? Because you see even on the, under, under the zip code and plane a, B flat minus seven, again, Southern Courts. Okay, very good. Then let's look at a nest voice. And so a nice voice and as the one, flat three, flat seven, and then you play just the basic triad diminished Coordinator, right? So that's going to be one flat five, flat seven. And then the simple diminished chord or DNA. Okay? Simple. Next one, just the 100 flux event. And then a flat three, flat five, and flat 7 million, right? So like that. Okay? Of course, other inversions can be used for the score to this can be an, another inversion of that. So you can try to play around with the different versions of the same chord. Try and take this around. Play all the half-diminished southern cone voice in the different keys. And by doing this, you will be ready to really dive into play these courts whenever you meet him. Thank you for joining me this lesson, and I'll see you in the next one.
13. Diminished 7 Chords: Hi, and welcome to this lesson. In this lesson we'll be looking at diminished seventh chord voicings. Now how do we construct these diminished seven chord voicings? This can be seen as a diminished, diminished chord with a sixth, major sixth interval added on top. So you just play or diminished chord, which is a one flat three flat five, and then you add six to it. Okay? So let's take a look at a few examples. For example, the C diminished seven. Dan going to be this, have flat three, flat five, and then the major six. And that forms a Denison. Now the diminished seven, when you see them in court shuts could either look like a DI M7, which is clear enough. You may also see it as an, oh. Remember the half-diminished seven was an O with a slash. So for diminished seven as just an oh, sometimes on lead sheets. Ok. So this is C diminished seven. And then F diminished seven will be the half-diminished chord. They add a sixth. Ok. Now the interesting thing about the minute seven chords, which will be good to know is that they are just stacks of minor third intervals. So if you pick the first notes, a minor third above, and then start this one here as well. If the E-flat minor third is going to be this K, three semitones above, so 123, so that's 123123123. And then you get diminished seventh chord. Okay, good. So taking a look at G diminished seven is also going to be and diminished chord with us seven. Okay, good. We'll, we'll look at some of the voices. But one thing that is very important to note about diminished seven courses that the moments, you know, three diminished seven chords, you know, all the other 12 minutes, seven chords. But it's very interesting because then you don't have to learn almost like all that 12 diminished seventh chords. What am I saying now if you play a C diminished seventh chord, and this chord is the same as an E-flat diminished seventh chord, the same as an F sharp diminished seventh chord. Same as, I'll a diminished seventh chord. So if I put a C in the base, you see that accord has shown us, see diminished seven. If I put E-flat. Now showing us an E-flat diminished 75 puts F-sharp, showing us an F sharp minor seven. And if I just change the bass notes to add a showing us an 80 minute seven, okay? And this is how the minister than are likely other courts. Ok, so if you want to form an E-flat diminished seven, the moments you know how the CD minister and looks, you just have to play. Just inverts this court, have this one go to the top and have the E-flat database and you have an E-flat dimness seven. Or you can just play a, C, D, m7 and give it an E-flat base. Still have an E-flat seven. So this is how diminished seven wires. So also you have the F sub F diminished seven is going to be the same as an, a flat diminished seven, same sets of notes just inverted. And then the B diminished seven, and then the di diminished seven, back to the F diminished seven, say for the G diminished seven. And this is how the g diminished seven looks like. And by just inverted and it's, I have my B flat dominant seven inverts again, and I have my C sharp diminished seven inverted again. And then I have my E dimension. So this is quite easy and nice and we're going to be using the m7 sometimes in certain core progressions. As we go on to things, you may find it in a court sheet, or you may land a chord progression. And whenever you lend a chord progression, if you know the courts within the progression, it makes it very easy to translate it across all 12 keys. Okay, let's look at some of the voices that we can use for this diminished seventh chord. Okay? As usual, you have income puts the one and the five below one and a flat file and play the entire diminished seven, similar to what we did before. And next you can put 11 flat 56, and then you play the one flat 35. Still. It just a matter of sharing some of the nodes, left hand and the right to k. So you can just give two nodes to the right and play that the remaining giftedness that lead splitter meaning on the right, move them around just, just to get something that makes sense. You can also play the one and S6 and play the flat three, flat 56. Actually 11. The voicing that I really like is when you play, to play the diminished chord, when you take the second note from above. So the second highest loads, which is this knot, and you put it in the bass, like that. Sorry, F sharp. Okay, so he's gonna say it's an F sharp diminished seven. But this is called a drop-two voicing, which we'll look at later on. Okay, so I like this kind of voicing. And diminished seventh chords can be used for approbation, like for example, in the key of C. If I want to move to the two, okay, I could play a diminished chord that has the flux in the, kay, so I want to move to two, but I want to play a passing chord of the fluttering Twitter too. So I play a diminished chord with that passively there, like that. Then I moved to the, to the to. So for example, a shunt were ancient worlds to move into the 2e to the 2x corn. So I used a diminished seven off the flood to, to the, to the two chord. Okay? And some can also use it in their progression like it. The same thing I did here. You could have done a more sophisticated one, which we'll look at later. That move from the 67 sharp 12 there too. And it goes like, It's a shame because I am using. And then diminished, diminished, amusing to diminish quarter. I starts with an isa one, diminished. The mandate. That okay, so we'll take a look at this more in detail. Does try and play, play a diminished seventh chords? Be able to play diminished seven courts all around, okay? Right, that you are able to play them in all the semitone locations. You'll be you'll be fine. You, you'll be able to pull it out whenever we need it in subsequent lessons to play very nice chord progressions. Thank you for joining me in this lesson. All the best with practicing, and I'll see you in the next lesson.
14. Diatonic 7th Chords: Hi. In this lesson we'll be looking at diatonic seventh chords. Now, what are diatonic seventh chords? Are diatonic chords from previous lesson. You know that these are the court's reliance that triads that we can play in the major scale. So what we said was that that the triad you play for 145 major triad, and then you play minor triad for the 236 and a diminished for the summing. Okay? So in, so in the end you're going to have one major to minor, 11, just use one hand. And then three is a minor. 45 is a major, sorry, three is a minor force, a major fires that major. Six as a minor seven is a diminished chord. And back to you. Okay? Try this for the key of G, Okay? You have one is a major to minor. Three is a minor. Four major, five, major six minus seven, diminish and back to the one. Okay, so it's good to know how to play these records. All your 12 keys, pick the key of C, You go through, go to the key of C Sharp, go through the diatomic records, go to the key of D and finish it in every single key. Okay, this is a good practice. Now, without knowledge of seven chords. Now, in these diatonic chords, major and minus are quite commonly used in pop and basic form of gospel and rock. And those Jana, okay, but typically in jazz you would have the regular diatonic chord as a seventh chord. So the basic diatonic chords in jazz are seven chords. So with the knowledge of seven chords, we can convert the same diatonic chords into 7s. Now, the, the, the first one of 145 were all majors before. So these are going to be commited to seventh. The 14 will be major seven chord. So you're gonna have a one major 74 major seven. The only thing is that this five is not a major seven and the five dominant seven chord. So that's what you need to remember. If I go through the theory, you would understand that IF when you have in the key of C, This is an affine. Ok, so if I add another note which is within the scale on extended on top is going to be a dominant seven. If I play a major seven, that's not the major seven notes within the scale. So this is y plane. A Major seven is now going to be diatonic. So diatonic means it needs to fall within the major scale. Okay, good. Now, so your one and there are four major seven chords. Your five is a dominant seven. Your 236 minus seven days to be minor chords. Now they are minus seven chords. You're seven. As Nazi diminished is a damaged about an extension. So it's now a half-diminished seventh chord. So if you know you'll have diminished seventh chord, that's pretty easy. So you see them written on your screen. One major seven to minus 73, minus 74 major 75, dominant 76 minus 77 is a half-diminished seven. Okay, so let's try that in the key of C. So in the key of C, one is going to be a major sudden. Kelsey is quite easy because all you have to, if you forget it, your diatonic chords, you can just come to the key of C because you can, by just leaving one nodes in between, you get oil diatonic chords, okay? So it goes like major seven and then four nodes with one interval every time to the minus 73 is a minor seven. F major seven or dominant seven, same thing. And then a minus seven. And this is how the medicine, which is also called a minor seven flat five. Why is this, how is this a minor seven flat five? So firm B. This is the B major, right? And this is a B minus 7S minor plaza seven, okay? Now this is the five, so one flat 357. And if you want to flood the five-year, bring this down by a semitone. So that becomes a minor seven flat five minus five is also a half-diminished seven, and that's when assemble, all weather cross, right? Good. Now, how do these diatonic chords help us? So your basic chords, chord progression that you have, can easily be converted to seventh dependent on the kind of music. So your judgement is really called for here. You need to listen to it. When you convince them to seven, you need to make sure that Let's find by you it works for you before you use them. So for example, a simple chord progression like 1625, which if I was playing with a regular basic triads, it would be the key of C, it will be a 12 as a six. Sorry, not the five, so 16 and then 25. Ok, but now I can convert this major to major seven and minus seven and all that. So one, it's going to be a major seven. And the six is going to be a minus m. And then the four is going to add a two is going to be a minus m and s. And the five dominant seven. So that if you listen to and you like it, then you can choose to go with it. And so this is how we use diatonic seventh. You, you, you may see, you see this quite often in jazz. And loose sheets where you have 251 progression being to Vive. And one is going to be a, d, is going to be a d minus seven to 72, a C Major seven. So this is how these are used. So keep practicing, tried to say them into other keys, pick any key at all and play. For example, the simple corporation, the 16255 plates in the key of C sharp is going to be 11, and then six. And to find right in the key of F is going to be 16. And then a two and a fine. Okay? So good luck in trying to play this in every single key, gets the diatonic seventh chords. Try a few chord progression is create your own chord progressions and take them round through the keys. And one should Dan head on to the next lesson. And I'll see you there.
15. Song Session 5 - Have Yourself A Merry Little Christmas (DEMO): She raised to the negative two.
16. Song Session 5 - Have Yourself A Merry Little Christmas (BREAKDOWN): Hi. In this lesson we'll be looking at have yourself a Merry Christmas. And this will be the key of C times sigma 44, so 1312341234. Okay, so let's have a look at how this goes. So we'll be using seventh courts throughout the court probation in this session. So your first quarter, is it an a major seven? So, sorry, a C Major seven. For now we're just going to play regular Major seven in root position, the major seven. And then it goes to a major minus seven. And then it moves to your D minor seven. And down to your G. A from the first two lines. Actually even a third mine aswell, so it goes almost like Novel three times. So I have yourself a merry Christmas. Then you replay at E minor seven. So the beauty of this is you haven't everything as wide nodes, right? E minor seven, D. And G seven. Again, a very slow d minus seven. Oh, let me try and play it with the vocal just once. And you can try and play it with a focal aswell. In practice this chord progression i on. In the next lessons we are going to be taken this same song higher and higher and apply more advanced courts to the same song. So it's good that we get the basic shell down. Plates with the vocal. Seven G7. So pause the video. Try and play this chord progression as many times as possible to practice your regular minor chords. Now, this, you can see that as clearly and 2-5-1 chord progression. So it goes, starts from i one to S6 and one major seven to a six minus seven. So if you wanted to play this in other keys, take that challenge upon yourself and converts this into the nervous system. Is going to start on that one major seven to a six minus seven to minus 757. And then it repeats itself until it gets the last line where a little ten around, which is then three minus seven, minus seven, minus seven, and then by seven. But that takes you, that's a very typical jazz ten around. That takes you to the one, it's called a three by one. It's a very nice and answer. You have B by a, so keep practicing this and until you get to your fingertips. Then once you're done, head on to the next song session. And I'll see you there.
17. What are Open Chords?: Hi, let's talk about open courts. Now. Open courts are very simple to construct. There's just your regular code that you know, but spread out a bit more. And this is to obtain a much heavier or broader sound. Let's try a few examples and see how the system, okay, so now the first rule is that in the root position, or you have to do is add a note an octave higher. So you're going to add your root node. So if you want to play a C Major chord and plates not open position, now you can no longer use this fingering which is a one 3-5 cause then you don't have any more fingers to extend, right? So you can use your first three fingers. And then you add the octane 1to1. Okay? Now this opening chord makes, emphasizes the root nodes and lots more. And yeah, so if it's a minor chord, you can still play like that. So you can go a full octave on the, on the left side as well. Now, because, because of this, sometimes, personally, I don't like it when there's a lot of space between my left-hand corner. Like in this case right. Now to fill up this gap, you'd have to invert the court. So the regular minor chord like that, you'd have to invert it. So if you inverted down, bring the top node to the bottom is going to be like that. And this is a lot better. Then you can, of course, once again, double the, the farm. So whatever the family's plane here, you double it on top. It's like that. Okay? Of course you could also do this if you want to keep it closer so you can use the same version of the minor chord. So this inversion led to the first three fingers at the pinky to double the nodes on top. So a C major cameo opened up and instead of playing that, you can invert it like that. And w are the loads with the thumb. What's on top. So that's if you want that kind of sound, she don't want to sound like this and you want to you perfect summer. Which is usually a much nicer sound when you have the top, right. Okay, good. So let's let's give it a quick try. I'm going to bring our two chord progressions and then you can try to play them using open courts. So the first chord progression as a CGA minor F, which is very popular chord progression we use in this course. So see, you're going to. Play your C with an open code. So you can choose how you want to open it up like that. And then the G, Let's try to play everything in root position. Stressed that afterwards we can moments and use inversions to make them needed each other more easily and seamlessly. So C, two RG, then 2a, a minor. One more time. What if we wanted to use some quality version, so incarnate version. I'm going to use this invention for the first chord. And for the C and the G, I'm going to look for one that is closest to it so I can find my G here. I'm going to double the nodes on top to the bottom like that. And then I'm going to play my doesn't mention the root position of the six chord. A minor. Select this. It's actually now repetition is going to be this inversion, but I'm topping it up here. And then my F, the easiest for me to do is to move this way. So it's going to be to a, g, then f. So let's add our left hand to it. So perfect. Let's try. Just pause the video and try to play around with these. You can play around with as many versions as T1b. I tried to make sure that your pinky farm and your pinky are playing the same notes in a big cocktail at every point in time. Last cooperation will be an F, C, D minor, B flat. Okay, so similar thing. I can play everything in root position first. So if I were to play it without opening costs going to be F. Two, a, C, D minor, and a reflux. If I add the pinky on top is going to be to a, C, D minor, B flat. Okay? And if I wanted to invert it, like I'll go like that. So one more time. Okay, excellent. So play around with these open chords at the opening goes anarchistic data, yes, major and minor chords. And you can have, you can do it for seven course nine calls London cause any code at all. You just, all you have to do is to try to open up the right-hand a bit more. Sometimes you can do it by playing a completely different code on your right. And, and I call those open slash courts where you have a different Coordinator writes of a differential nodes to get a bigger sound in the end. So keep exploring last thing in the next lesson.
18. Open Slash Chords: Hi. In this lesson we'll be looking at a very, very important and powerful to in plane in general, contemporary style jazz, whatever genre of music you'd want to blame. Now this is the use of open slush courts. And I've always said the slush scores as a way to play very sophisticated courts in their simplest forms. Let's get into it. Now. Let's say, for example, I'm looking at accord like, like this. Okay. It's a minor nine core. Right? But if you look at it like a Major seven or your rights over this notes. It might be a lot easier because we are used to figuring out regular post like major, minor, major seven, minor seven, the seventh and the triads. These are easy cause for us. So this gives a better sound. Now, this is the basic principle I use for my open slash courts. Now, what you're going to do is you target to play a triad on the third, okay? So let's use the same key, C-sharp. Okay? So on the one chord, you look for the third of C-sharp and a third is always two steps ahead in the skills, or the third one is three, the third of two is four in that order. So the third of this 13. And if I play a regular triad on the three, regular triad, which is, the three is a minor in nature. Ok, so the regular triad is going to be F minor chord. If I played this over the one chord, I form a major seven chord without any sweat at all. All I'm doing explain a normal triad but over a different routes notes. And that's for many major seven chord. Okay, so but this is just a slash court in that case, of course you can make it ADA octane here. But this is a regular slash code. Nadeau opened slash horde is all, all I do is to add an octave on top of that. So instead of planar regular minor chord, I'm putting the same note on top, okay? And this, nothing is going to change, but it's made some big, right? So this is a good one chord you can use in the key of C Sharp. And all I did was I played a triad of the third. Ok, let's try it for the two. So this is the two. And the third of a two is a four. When U4 is a major chord, so you clean F-sharp major chord, add the octave on top, and then you get a score. Okay? So that's why if what I'm playing like 2.3.4 progression, I go. So amusing. This kind of progression and most of the time plane that we're the third on top. You see that most of us, I fits with the melody of the song. That's also one secret. So by playing this, you have a minus seven voicing, okay? And if you try it for free as well, so this is a three. And you have that. Five is a third, play, a major part. And then you add the octave. They're like that. It's a minus seven. So this works. But in gospel in general, as I've always said, We tried to avoid this seven notes within their three-point. So you can do is to then move, move these two nodes to the one. So instead of this code, you move the seven to the one and then you get a score. We've always been playing. Ok. Good. For the, for the federal. The four is a six seconds admired as I play a minor chord and other obtains. And I get an F Major seven open voicing. Since one other trick is, instead of ln 151, you can have your hands constraints a little bit. You can just stretch it onto this and you form a Major nine chord. It's a very nice voice. You can, one thing else is four. I usually don't do this for the five. It sounds a bit off when you try to do it for the file. So the file, the seven, the third is going to be the 77 7S definition for anti form and a normal dominant 75 form in this way. But I usually like to voice my dominant seven chords a bit differently. Okay, maybe like that's all right. And you can do this for the six as well. So forensics, the Fed of the six is the one. And then you play the major outtake. And these are just easy ways of playing big chords without any sway title, okay? Yeah, now, so this is using triads on the right side. If you use the diatonic seventh of, on the right-hand side, you will be getting a minor nine chord. Let's see how, how we can form that. Okay. So for, for the one now diatonic seventh as follows, You know that one is a major, tool is a minus three is a minor. So 145 are major chords, 236 minor chord seven is a diminished chord, but for the seventh, 14 are major servants. To 36 are minus seven. And the five is a dominance of a not a major seven. And then the seven as a half-diminished seven or a minor seven flat five. Ok? So if for the one chord of plane, regular triad here, if I play a minus seven, okay, on the right, instead of a minor, if I play a seven over that, I can, I can guess a minor, a major nice sound. Okay. Of course the other way I showed was that you can always stretch this head to that and then play a regular triangle, right? Same court. If you can see on the screen C Major nine, and if I play a minor seven on the right over that, still the C Major nine. Same for, so same for the two chord. Instead of this triad, you can play a major seven instead over that and forms a minor line zone. This is a very nice sound music, the 25, right? Okay. Yes. And you can follow this to play every, every other key so I stay together for a bigger sound. Make other LTI one top of the triad. Yeah, so a minus l, some will be formed on the 236 chords if you do this and if you choose to use play seven cause on arrived, they are going to be formed in major 9s and minor 9s. And as I said, I recommend that you try to do away with this and works. You can use a very nicely on the one and the four and the two and the six. But five. Yeah, maybe not so much is to kind of work in certain contexts as well by UB the, that the judge, the judge of it. So for your assignments, pick common chord progressions like 1564 or 1524, and tried to use this opening voice. And so if I use it for 15664 is going to be like one to add my five. I'm going to keep it simple. I'm just going to play a simple five chord. And then I'll try maybe add the octave on top instead, okay, to forbid open sound. So then, so to say. So the four sounds good, right? And then la, five to four. And then who've, okay. Very good. Try this. Try to play this in every single key. Gets your fingers adjusted to the open, open slash core concepts and get, get us going. Thank you for joining me in this lesson. I'll see you in the next one.
19. 9th Chords - Introduction: Hi and welcome. In this section we'll be looking at ninth chords. So we'll be building on your knowledge of seven quarts to add an extra extension, which our ninth chords. So we are going to be using your knowledge of dominant seven chords to form dominant nine courts. Bayesian knowledge of majors, oven costs for major nine ct minus alone courts for minor nine courts. And we have a few quarters regressions where we apply the ninth chords and you'd be able to pick them out easily whenever you see them in portrait. So as soon as you already had on to the next lesson where we talk about the first type of nine courts. I'll see you there.
20. Major 9 Chords: Hi, let's talk about major NIH courts. Now. Major nine courts. Basically an extra extension on major seven chords. So from the major seven chord lesson, we know that a major seven chord as a 135 fruits a major chord with a mega seven interval or major seven nodes, the actual seven, so 13579, major mine code would just be a 13579 added on top of it. So knowing how to build them is very important. Then we can go into trying to voice them separately. As we said, mine courts are only extensions of seventh chords, okay, so you need to be able to master your seven chords to build your main course in the same way you need to master basic triads to be able to build your seven quarts. Ok, so let's look at two simple quad voices of and the night called. Now if we look at the basic nine squared is going to be for a C chord. And that's a C major seven. And then if I add that nine on top here, it becomes a C Major nine. Okay, so you realize that now all the fingers are been used up. You need to split the workload in both hands to be able to cover all the courts. So I've given only two example. Ca1 is a close voice and then one is an open voicing, which you can use as your basic ninth chord voicing. So a major, a major micro. Now I have, for the first one, I have my one and the five in my left hand. I have my seventh year that I have my nine, then my three and my five to complete it. Okay, so though, the way I easily pick out this as a beautiful sound for the nine codes, I like them. So easily pick out the nine chord, the Major nine chord. Close voicing as I'm using. I'm seen the right-hand as a basic major up to major chord with the ads. And then I'm dropping the one here to the seven semitones. Now, the moment I do that, the R two is no longer an R2, is now a nine, C becomes a major. And if I go into any key, I just imagine the major R2, which is an easy code and drop my thumb or dropped a one by a semitone to the seven. So let's write an F. So I go to F. This is my major R2, and I dropped the spam here and becomes a Major nine chord. So if I see their score in a court charts, for example, and a D flat on C-sharp major nine. I can go straight away and play that because I imagined a major, our two chord with the thumb down. Now I tried to give some of these tips and tricks because there are lots of courts, right? So you need to have some sort of system or an easy way of picking out or Playlists chord voicings without having to practice or memorize so much. Okay, so let's try an F-sharp minor Nikon. How we construct a simple closed voicing, have F-sharp major, R2, and I drop the firm by a semitone. Okay? And then after you do that, you need to take your hand off and tried to Blaine occurred without thinking to myself. Okay. Let's try one last one. So a G Major nine chord. So that's going to be like that. Major are to the firm or the root, drop by semitone to the seven. Alright, excellent. Let's look at the open voices. So for the open voicing, I have my 15 and then mine in my left hand. And then I have the 357. And I top up with whether nine again. So it gives a more open sound, one. So that's the case. How can I be able to remember this voice? And everywhere I go? Well, I can, I can go into any key and playing. And the audio voice versus the F Major nine. I can go to G, For example, in G-Major nine k. But how am I doing this? I need to find a quick way of playing the. So what I'm doing is I'm scene the right-hand corn as a minus seven, not a minus seven. And minus seven played on the third. So let us what I'm thinking. I play the one, the five ended nine here. Well, you don't say you didn't have to play the night. You could just play 151 or just 15. Okay. And then I look for the third of the scored. So the third of the CS, the E here. So 123. And then I play a minus seven and E. So I'm only played and E minus 11 here. E minor seven over my C. And the moment I do that, I get a C Major nine. So that's what I'm thinking of when I'm playing the score. So see that, but to fill in a little bit, so just like that K. So to fill in a little bit, I can just play that one, the five and the nine. And if you can't stretch this much, you can just play that. The 70, however you want to play it so, well, this idea, I can go into all the other keys and play all the, all the major nine open position. So f, this is f. I need to play a minor seven of the a on top of the f like that. And I have my F Major nine, K phi go to B and the D right there like that. And I have my B flat major nine, right? If I go to C-sharp, I need to play a minor seven of the third, which is an F like that. And I have my major nine according open voice, right? Let's try two more. Let's try a major nine in open voice. And so this is a does the third, I need to play a minor seven of the threat. And the rules apply everywhere. One last coin. Let's try B major nine in open voice. And so this is b i plus, minus seven here to the left, or it could be one nodes, the Stellar Imager nine, you can see on the screen, or you can add more nodes, right? Like that. Okay, excellent. So try and move around the keys moved to C, C-sharp. Move through all the keys and try to play these closed and open voicings and all the 12 keys. And once you are done, practice in that, move on to the next lesson and less land than next type of ninth chords. I'll see you there.
21. Dominant 9 Chords: Hi, let's talk about dominant nine cards. Now. Dominant nine courts are basically dominant seven chords within my added as an extension. So let's look at how to construct them now. But the knowledge form dominant seven. We know that the dominant seven as a major with a minor seventh on top, where flat seven. So it's a 135 and a flat seven. Ok. Now, to get the NIJ, we played the same dominant seven and add. Then on top of that. So it becomes a seed of land. In the same way as C dominant seven is just written as C seven. The dominant nine is also written as C9. Okay? So if we wanted to form F9, let f seven core and add the nylon top. Further to play a G nine, played a G seven coin, and add the nine on top. So it's as simple as that. And it's written just as a C19 or F9. Excellent. So let's look at some closed and open versions of it. And these are just examples. You can voice them in any way once this quad voices are two examples I am giving in this lesson, that of course dependent on the song and the melody, you just reinvents the nodes to TOO ONE satisfaction or taste. Okay? Now let's look at the first closed version. So the first clause version here, you'll see on the screen that I have the left-hand in blue and the right-hand in red. Okay, so i play the left, I played a one, and the five in my left hand, and I played a seven. The nine. Now the three. And the moment I add that, we already had the C19 chord, my denying, I top up with the five. Okay, so that's my fast close version. I play the 1579, the three and the five of our item. You can also see this the same way we looked at the Major nine chord as a major addtwo with this reduced by a semitone to form the major nine. You can also see this as a major addtwo with reduced by a whole tone. Okay, so for me a drop it two semitones, and it can form that. So with this, if I go to other keys, like F and I play this on my left, I just have to hold my major R2 and drop this by tone. And I have my dominant line, my F9 core. Same way, four. A D9. So a dean line is going to be like that. Major R2 with a farm drop by semitone. And A9 is going to be similar. So that's all I'm thinking. I know it's a major to my right and and I'm dropping the farm. So this is how I'm usually forming by cold soda monetary seeds on a core charts, I can quickly go to my D9 and go to my A9 and go to my E9. Sorry, I can go to my E9 quite easily. And it's not too difficult case. So the moment you have your major at two, and then we are dropping your thumb semitone. You can get your code quite easily. So let's look at the next the second clause voice in which I recommend for my students. So that, that one is just your regular basic one which is 13579. But I voice it with I use my left hand to hold just the 13, and then I use my right hand to play these three nodes. Okay? Now, these three nodes, you can see a minor chord on the file, right? So it's like a five minor corn. So then with this idea, if I want to play this voice in any leaky, I can just go into any key holder 13 with my left and play a minor off the five in my right hand. So let's try for the key of F. These two keys, does the five, I play a minor chord? So I play a minor, C minor chord. Just with this simple thing, can I'm able to play it faster in the keys? If I go to F-sharp, WHO 2-nodes minor, I go to g, hold two notes and minor of the five core. And with this, you are able to play all the voices in every other case. So whenever you learn a new chord, I advise that you try to sit back, look at the code and think about how to visualize the code in other keys with 0s, right? And the open voice in which I use most of the times I played on one, the five and the nine here, and then I play my 35 flat seven and then line ok, so like that. Okay, so now how I see this is similar to the, the major nine cores where I visualize that the right-hand chord as a minus seven, minus seven over the roots note here, right? But in this case, the right-hand court for the dominant ion is going to be a minor seven flat five. So I'm going to reduce the five here. Minor seven flat five. This is also called a half-diminished seven. So I am going to play not the minus event, but a minor seven flat five. And the moment I play a minor seven flat five over my one, I can get my open version of the ninth chords like that. So if I go to F minor seven flat five of the, of a, of a Latin, I guess my F9 chord. If I go to q0 and interplay the minor seven flat five of the a, of the a here. And then it becomes, sorry, the b here. And it becomes a nine chord. If I go to C-sharp and I want to play an C-sharp line. Open version, coders down, and I play not a minus oven, but a minor seven flat five can invite them. Excellent, so try to play around with these voices. Use the easy approach that I've stated to figure out playing them in every single key position. And with knowing this, when we started play chord progressions and we play core chats with have nine courts in them. You can easily find a way around this quad core charts of progressions when we get there. So thank you for joining me and I'll see you in the next lesson.
22. Minor 9 Chords: Hi, let's talk about ninth, minor nine chord. Now, minor nine courts are just minus seven cores with ninth extension. So from previous knowledge of minor seven chords, These are one, flat 35 and flat seven. So if you know your C minor seven, or you have to do is to add and my extension on top of that and you get a C minor nine colon. Okay, so the formula for minor nine S, one flat 35 flat 79. Okay? So there are just written as MIN nine. So that's how you usually see them in crotchets. Sometimes you can see them written as small letter m, whether nine. Okay, so let's look at some closed and open versions of these minor nine chord. So the first one is your basic one. Which place I play the, the basic triad, the minor chord, my left-hand one flat 35, and then I play the seven flat 79 in my right hand. So if, if you want to use your pinkie here, you could also add the five and top-down to form this simple voice. And so that's one close voice and you can use, if you want to play this in another key player. For F minor nine, you play a triad, minor triad in right, and then a flat seven and the 59 in your right hand. And of course you can add the five and Tokyo. Okay, so that's F minor nine. The second clause version. I use quite often as this type, where I played a 15 and my left hand that I played a seven, the nine, the flat 35 enlightened. Okay, so this, I see it. To be able to play the score in every single key. My little triggers I play. I see this as a Mila, add two core. So this is a minor chord, and that's a minor R2. So one, we're playing a major nine and the dominant nine, we were altering the roots of the major ad to court by reducing by a semitone or at all to form a major mine. So that's my left-hand 15 major are to drop this found by semitones. Former major line dropped by join to form a dominant line, right? In this case, I can do the same thing for the minor nine chord and play my minor add too on my right_in and drop the firm by a tone to get my minor nine chord. Okay, so as long as I'm able to hold this in my right hand, I can play this in every single key. So. If I go to the key of F, F minor are two job De Fang by atone. So if I add my left hand to it, I have an F minor nine chord, as you can see on the screen. So let's try a few minor, C minor nine. To my F minor nine. Do a B flat minor nine. So all I'm doing is thinking B flat minor chord. Add to drop the found by a tone, and then placement be flattened and left. And that's a very easy way of moving around with your minor nine chord, this court voice and is used very often in jazz and other genre of music. Okay, let's try one last minor Nikon, say the G minor nine. So that's the G minor line. That how I got to this was just by thinking G minor with the ad to drop the one over the G. Okay, so I'm using a similar approach. Everywhere I go to get my minor nine voices. So the open voice in which I use quite often is I play the one, the 59. On my right-hand. If you constructed to the nine, that's fine. You can keep your one as well here. Then I play the flux three, the five, the flat seven, and the nine and maritime. Now that sounds like a lot, but I'll show you an easy way to get the squatting every single key. So I see this as major seven chords. So as I said, as long as you master your major seven chords, you can play nine cores very easily. So you need to know your major seven chords very fast. So what I'm doing is for C minor nine, I go to the minor third, which is E flattened escaped, and I play a major seven chord. So I played a major seventh on the minuses. So that's an E flat major seven chord. And I place the, the nine, the sea itself on my left hand. And the moment I do that, I have a C minor nine chord. Now all I'm doing with this open chord here on the left, just add the 15. And if I go straight to the nine, I can add it here. So, so that's a C minor nine. Now B and F minor nine, that's B flat minor. And I'm using the same approach. A Major seven of the flat three, major seven of the third, which is a minor said. Let's try another one, E-flat minor nine. Major seven of the F sharp on the rights of an E-flat. And the last one, let's try B, B minor nine, so major some of the D over the beam. Ok. So try to go through all the keys, all 12 keys, figure out how to play a minor nine courts use these easy visualization techniques to get to play it in every single key. And by doing this, you'll be able to pick them out easily when you see them in court chats. Thank you for joining me in this lesson and I'll see you in the next one.
23. Minor Major 9 Chords: Hi, let's have a look at minor Major nine courts. Now, this chord sounds familiar, right? Minor major, my course, basically extensions of the minor major seven chord. So if you remember, the minor major seven chord, this was built with a minor chord with a seventh extension, right? So C minor chord, for example, that if you add that major seven, which is the regular seven in scale, you get a minor radius of inquiry right now, with this knowledge, we can, all we have to do is to add an mine on top there. And then we get a minor Major nine or so, major seven plus the nine minus nine. Very simple, right? So the formula then is going to be one flat 35, which is the minor 79. So one flat 3579. Okay. So as I said, it's just an extension and this is written as the, the note C MIN that into brackets, the major and minor. Okay, good. Let's, let's look at another example. Say f, F minor major nine, okay, so F minor Major seven, like that. And then I add the nine. You can clearly see there is a bit of a stretch trying to play all the five nodes with one thing, one hand, right? Not a lot of people can't do it like this. So I'm going to take you through some closed and open voice. And so you can use when you come across this chord in jazz, lead sheets or core chats. So let's try it for another key, say a G minor Major nine, okay, so the G minor Major seven, like that. And then I need to add a nine. That's a mixture edge. You can try it out for yourself. So that's a minor Major nine. Let's try an F sharp minor Major nine. So an F sharp minor Major seven, like that. And then if we add the nine, that's a minor Major nine. So this is the nine up here, right? Minor, minor with the major seven and mechanism major nine. Okay, so let's look at some closed, closed voices, okay? The first clause voice, and we'll look at is the regular one sofas C minor Major. Nine. Does voice near you just play an a minor chord on your left hand and put it in the two other nodes. You puts it to other notes here, the seven and the nine. Of course, if you want to do a lot more with your right hand, you can. Also puts to the five back up on top right. If you like, you can hold, hold onto this one. Actually the closed voicing that I like. Because this is somewhat similar to the, the minor nine chord, which is which is like this, right? The minor nine, which is just the 1-5 year lefts. And then if you remember, we play the minor chord with we added a nine here, and then we drop the fund by a semitone, sorry, a tone, right? And then we fund the minor, minor, major nine. You can hold a minor chord. Add your arginine, and drop the file only by a semitone. Okay, and then that will give you the minor, Major nine corn. So this is not written on the screen, but this a good voice and you can use so all I'm thinking about getting my ship. And so if I go to the key of F, I wanted to do a similar thing that I played a minor with a line and drop the farm by a tone. And I get, so by autonomy minor nine, but a semitone is going to give minor Major nine. Okay? Let's try for another key, g. So g, I'm going to add my other nine, Georgia found by a semitone and played on on the G to form that voice. Ok. Now, another close version lists voices not so closed, but which you can use as you play the one, the five on your left hand and the Ukrainians, that nine. And you play the nine and the three, the fluffy horizon. Of course, I've added a few more, repeated, a few more notes with Peter this to know TS, Well, this is totally up to you. You can stick with this voice. And it works perfectly well because it's quite easy to construct. Again. Excellent. Just, if it's possible, just pause the video, give it a voice and pick one voice in the any of these, and then take them through a few keys. At least, if not all, take them through a few keys and make sure that you are able to quickly construct a minor, Major nine chord. You might not, you might never meet it. Middle scored, dependent on what genre of music you play, right? But if you something you meet quite often, you might want to get down on your fingertips. But if, if not, the knowledge of how to construct it is also quite important that you have as a pianist. Okay? Now we'll look at one open voice in here. So let's, open voices is also similar to my minor nine voicing. To remember what that minor nine voicing, we play a major seven chord of the flux, three. So for C minor nine major seven chord on the minor third, right? So we played a major seven chord, E flat major seven chord over the sea and reform the minor nine, right? But over here, because it's a minor Major nine, it can't have this minus seven nodes. So that has to be increased by a semitone. Okay? So now the harder the right-hand is no longer a major seven, but it's a major seven with a raised fifth. Ok, we'll talk more about authored courts later. But it's a major seven by, you need to increase the five by a semitone and then replace it over the route. So if you want to play a big one in Dublin, a root 59, like that, k, So F minor major nine, like that. So all I'm thinking is I'm just going to Jackie going into the minor third and plane. Major seven with a raised five, right? So major seven with a raised five makes them minor major. C-sharp, minor Major nine. So I go to my C-sharp and I play that. I play my minor, minor nine. If I increase the, that's by five, my minor major. Excellent. So try to play around with this cord. And as this course is the purpose of this lesson. So, So as a reference, so just in case you meet the scored along a musical journey, you have a point of reference to come to and revisits the lesson and gets the score down so you can construct them whenever you meet them next time. Thank you for joining me and I'll see you in the next lesson.
24. Song Session 6- Have Yourself a Merry Little Christmas (DEMO): If you were a little crazy.
25. Song Session 6 - Have Yourself a Merry Little Christmas (BREAKDOWN): With the knowledge of the chord progression using the seven courts, let's make some of them might chords so we can practice with them. Okay, so I'm gonna make the major chord, the major seven, major nine. And I'm going to make the minor seven a minor line. I'll make yeah, pretty much stats. And then I'll make the Dominant seven, dominant nine. So C major seven becomes C Major nine. At D major minus lm comes a D minor nine. Then, then g becomes G nine. Okay, so let's look at the code voices we have selected for this purpose, you may choose to go with other chord voicings as well. So with our major mine, C Major nine chord, I'm going to play the one and the five in my left hand. And I'm going to play this event. And the nine and then the three and the fine in my right-hand. So this court is just gonna be like, look like a major, a major R2 with a drop, dropping by a semitone like that. So that's gonna be my C Major nine chord. And then with my A-Minor line, I'm going to play like that. And so that also looks like a Mila addtwo with a farm drop by a tone a, but as the voice than when it's used for a minor line based upon a MOOC on the major nine. Hey, wanna take it slow so you can be on the same page to the a minor nine. And then with the D minor and I am going to use this voice, okay? I have my 15 in my left hand. I'm where player major seven of the F on my right-hand went to play the F major seven and place it over that d. And that will give me my D might align so that from this chord, I can easily move down to this D19 corn. So by play this, all I have to do is to movements that five. I have to just reduce this by a semitone and that by a tone. So it needs stimulus leads, right? Right? So if you play the first line to a minor, to the D minor, G minor. One more time. Have yourself a Merry Christmas. But this G9 chord, you haven't won the five, you have the And the nine to form a line quadrennial 13579. So while by 790 we're only lifted off. Our 35 is already here, right. So we can top it up with this five-year. Okay, so one more time. Have yourself a merry Christmas. Let your heart be light. And that one more time. I'm now Arne travels and the other side's. Now I'm going to play an E minor nine, so pay the voice and I'm using for this, I'm playing the one. I'm playing the regular 15 in my left hand, and I'm playing the mind, so this is b. But mine doesn't mind that I'm playing the three. But this would have been, this would have been your regular e minus, right? All I'm doing is since I have the E already here, I've just taken my thumb up to play the nine megabits, a minor nine chord. So I played that E minor nine, play the same a minor nine we played before. Then I play the same D minor nine from before, and same G9, so that ten around is going to be e, a, e, e. So realize how much better this style sounds a lot richer than regular. E minus seven, minus 70 minus seven, and then the G7, okay, so this, in this case you're making them added an extra extension, two like that. And then OK. And then back to G-major line. So I'm going to play, it's just one time with the truck again. And then once it's done, pause the video and then try and play it yourself. Okay, so let's see how that goes. And try and play this in as many keys as you kind of converted to numbers. One sakes 2-5, blast X.25 and 3-6, 2.5.1. And then uses to play it's another keys, for example, F, G, a flat, B flat, E flat, as many keys as you can. And this is how you gain mastery over your ninth parts. And once you're done, head on to the next lesson, and I'll see you there.
26. Intermediate Outro: Congratulations, you've completed intermediate level of this course. I want to keep urging you to push on and move on to the advanced level. Have a look at a topic starts under the advanced level where we go through Tet in courts, all TED courts as well as course with add notations. If this is something that will interest you, urge you to move on to the advanced level and complete that. So that by doing that, you'll be well show that you have all the piano chords and your fingertips well-done. And I'll see you there.
Kingsley B-Nkrumah, Musician and Tech Enthusiast
