The Ultimate Beginner Piano Improvisation Course | Martin Cohen | Skillshare

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The Ultimate Beginner Piano Improvisation Course

teacher avatar Martin Cohen, Teacher, musician and composer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Promo video

      2:31

    • 2.

      1.1-How to use this course

      1:25

    • 3.

      1.2-How to download resource files

      2:48

    • 4.

      1.3-The major pentatonic scale

      5:00

    • 5.

      1.4-The minor pentatonic scale

      8:44

    • 6.

      1.5-Practicing the minor pentatonic scale

      4:45

    • 7.

      1.5-Practicing with swing feel

      6:15

    • 8.

      2.1-The Blues Progression

      9:54

    • 9.

      2.2-Improvise with pentatonic Quarter and eighth notes

      12:17

    • 10.

      2.3-Introduce triplets in your improvisation

      4:25

    • 11.

      2.4-The Blues Scale

      5:09

    • 12.

      2.5-Practicing the blues scale

      9:28

    • 13.

      2.6-Blues scale improvisation Quarter and eighth notes

      4:11

    • 14.

      2.7-Blues Scale Improvisation Adding triplets

      3:02

    • 15.

      2.8-Blues Scale Improvisation Sliding

      3:24

    • 16.

      2.9-Blues Scale Improvisation Double Stops

      4:55

    • 17.

      2.10-And now the left hand

      6:19

    • 18.

      2.11-Adding the 9th

      12:00

    • 19.

      2.12-Bringing both hands together

      4:48

    • 20.

      2.13-Adding rhythm in the left hand

      5:11

    • 21.

      2.14-Adding the 13th

      11:44

    • 22.

      2.15-Adding more notes

      8:45

    • 23.

      2.16-Extend the blues scale with more notes

      6:22

    • 24.

      2.17-Blues Scale in G

      8:31

    • 25.

      2.18-Blues in G Left Hand

      11:38

    • 26.

      2.19-Blues in G Hands together

      3:06

    • 27.

      2.20-Blues in D Left Hand

      11:21

    • 28.

      2.21-Blues Scale in D

      7:40

    • 29.

      2.22-Blues in D Hands together

      3:39

    • 30.

      2.23-Blues in Eb Left Hand

      14:48

    • 31.

      2.24-Blues Scale in Eb

      7:11

    • 32.

      2.25-Blues in Eb Hands together

      4:39

    • 33.

      2.26-Improvising in other keys

      3:45

    • 34.

      3.1-Rock Improvisation The Basics

      8:09

    • 35.

      3.2-Adding double stops and trills

      8:17

    • 36.

      Adding 16th note triplets

      4:28

    • 37.

      Adding the glissando

      9:30

    • 38.

      Soloing with the 1st, 2nd, 3rd and 5th

      11:44

    • 39.

      Making melodic lines

      7:18

    • 40.

      Combining everything together

      9:09

    • 41.

      How to play in other keys

      7:09

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About This Class

EASILY PLAY BEAUTIFUL BLUES AND/OR ROCK PIANO SOLOS WITH AMAZING SOUNDING PIANO RIFFS AND OTHER TECHNIQUES

 

This course is for:

  • Piano players who want to start to improvise (solo) over blues, rock & pop music
  • Piano players who want to take their piano playing to a next level by learning how to improvise

The requirements for this course are:

  1. You should know how to play most major and minor chords (triads) on the piano
  2. You should know how to play most dominant 7th chords (also often simply called 7th chords) on the piano

THE PIANO IMPROVISATION COURSE THAT LETS YOU PLAY BEAUTIFUL PIANO SOLOS OVER SONGS IN THE BLUES/ROCK/POP GENRE

With this piano improvisation course, also YOU will soon be soloing with ease over blues, rock or pop songs.

ALREADY VERY QUICKLY, YOU WILL BE SOLOING AND FEEL THE JOY OF IMPROVISING ON THE PIANO

After a short introduction section, you will already quickly start your first piano solos, first very simple and then, by slightly adding more elements and techniques, you will very rapidly learn how to create a spectacular piano solo.

LEARN HOW TO IMPROVISE ON THE PIANO IN A FUN WAY WITH A WHOLE BAND THAT ACCOMPANIES YOU ON PLAY-ALONG MP3-TRACKS

Start directly from the beginning of the course to improvise together with the band, in stead of doing boring exercises (like running up and down the scales with a metronome).



About this course:

The course consists of the following 3 sections:

  • Introduction

In the introduction section, you learn the major and minor pentatonic scale and you learn how to play with swing feel (important for blues improvisation)

  • How to solo over a blues

In this section, you learn the blues scale and how to use the blues scale to create a solo over a blues progression. You will also learn how to add extra notes (that are not in the blues scale) to extend the possibilities to solo even more.

You will also learn how to accompany yourself with left hand chords while you play your solo with your right hand. The left-hand chords that you will learn are the chords the pros use and that contain extra notes (like the 9th, #9th and 13th) to spice up your solo.

  • How to solo over a rock chord progression

In this last section, you learn how to solo in a rock song with the pentatonic and blues scale and with extra notes.

A lot of what is done in this section builds further on what is learned in the former two sections, so it is important to at least have followed the right-hand lessons of section 2 (left hand is not so important for section 3).

You can apply the scales and techniques learned in this course also for most of the pop songs.

Meet Your Teacher

Teacher Profile Image

Martin Cohen

Teacher, musician and composer

Teacher

Martin Cohen is since about 25 years a teacher of physics, mathematics and informatics.  

He taught at several schools in and around Amsterdam and at the European Schools of Brussels (Belgium) and Luxembourg.

He recently decided to quit his regular teaching job to concentrate only on online teaching.

Martin is originally from Amsterdam, the Netherlands.  

He is a passionate musician and composer. Since the age of 8 years, he plays the piano.  

He played in several rock, blues and jazz bands and he has now a jazz quartet.  

At the moment, he teaches (online) the piano, music theory and composing techniques.  

Martin has a masters degree in physics from the Free University in Amsterdam.

See full profile

Level: All Levels

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Transcripts

1. Promo video: Hey, which you also like to play such a blue cell on the piano? Or do you prefer perhaps to solo over rock? Well, after this course, you will also be able to create particular solos on the piano. My name is Martin Cohen. I'm a jazz, blues and rock musician, piano teacher and composer. I teach already more than 25 years. I actually started my career as a science teacher, but since many years already, I know full-time working as a music teacher. So what can you expect from this course? Well, first of all, we'll learn the skills that you can use to improvise, which are the major and minor pentatonic scales and the blue scale. You will also learn extra notes you can add to make your solos even more interesting. You will learn how to accompany your solo with left-hand chords. And to the left headquarters that you're going to learn are not boring standard left-hand course that most amateur students in their solos, but the ones that proceeds in their solos and that's contain those special nodes that entirely spice up the sound of their accompaniments. Now, when you enroll in this course, you've got lots of extras with a value that largely exceeds the price of this course, because you will get split along MP3 files with a whole bend that accompanies you while you play your solo. You get those play along files for all the 12 keys and in different speeds. Also, you will get detailed PDF files with scales and with courts and all the keys so that you will advance in the most efficient way possible and start to create your first solos already from the beginning of the course. Now, after completing this course, you will be taken from someone who never played any piano solo to someone who is in place. Beautiful piano solos and blues, rock, pop tunes. I'd like to thank you very much for your interest in my course. And I look forward to see you inside of this course. 2. 1.1-How to use this course: Hi, and thank you so much for choosing my course. Now, what's the best way to follow this piano improvisation course? Well, the best is of course, to follow the lectures in the given order. So after this section, which is the introduction section, where I explained the pentatonic scale and how to play with swing field, which by the way is very important for blues and also jazz improvisation. You go to section two about blues improvisation and then to section three about rock improvisation. But imagine you want only to do rock improvisation and not blues improvisation wants to do them. Well. I still recommend to start with blues improvisation since there you will learn how to improvise with the blue scale. And the blues scale is used a lot in rock and pop music. So the improvisation lessons in section three rely heavily on the skills and techniques learned in section two. Now, the only thing you could skip eventually in section two when you want to improvise as quickly as possible on rock tunes, is all the lessons where you play also with the left hand. Okay, that's it for now. I wish you lots of success with this course and with everything else. And I see you in the next lecture. 3. 1.2-How to download resource files: This course contains quite a lot of resource files. So e.g. MP3 files that you can use as play along files, but also PDF files with scales and the courts and more. So how can you download them? Well, to do that, be sure that you are on the projects and resources tab of this course. Then scroll down a little bit. And on your right side you see here resources with a link to download the resources. Now, to be honest, this link doesn't lead you directly to the resources, simply because the resource file we'd be too large to attach here to this course. Instead, you will have a PDF file. So just click on the link to download the PDF file. And once into PDF file, just click on the link in the PDF file. And this takes you to a folder where you can download the resources. Now as you can see, you'll see three folders. Each folder is for one section in the course. So let me e.g. go to the second section to section about how to improvise over a blues. Let me open that by double-clicking. And there you see the lectures that contain resource files. Now the numbers of the lectures in this folder don't correspond with the numbers of the lectures in the course. Now why not? That's because I put those numbers in just to keep them in the right order. In the right order is the same order as the lectures appear in this course. So you don't look at the numbers but at the title of the lecture. So let me open e.g. this one. You see here three MP3 files that you can use to play along over. And you see that they come in three speeds. 80 beats per minute, 95 beats per minute, and 110 beats per minute. Let me open another one. This one, e.g. here you see that there are three PDF files, so you can just open them and view them. On the other hand, you see here a zip file, MP3 dot zip. Now, why is that zip file? That's because there are a lot of play along tracks and it will be too much to put each play along track in this folder. So you just downloaded and unzipped and you will, you will find all the MP3 files. Okay, so now you know how to download the resource files. And what I would do is either download it directly on your computer in the given structure as you have it here on the Google Drive. Or what you also can do is just leave Google Drive open while you take the course and be sure that you keep track of which lectures have resource files. Okay, that's it for now. See you in the next lecture. 4. 1.3-The major pentatonic scale: I will introduce you in this lecture to the pentatonic scale. First, the major pentatonic scale, and in the next lecture, the minor pentatonic scale. First of all, where does the word pentatonic come from? Well, it comes from the Greek word penta, which means five. Now, does this important? Because this five refers to the number of notes in the scale. So it means that the pentatonic scale is a scale with only five notes. Now, remember that the scales that we've seen till now, so a major scale and the natural minor scales, they all have seven nodes, e.g. the C major scale. Now perhaps you count it with me and you counted eight nodes, 12345678. But the C, We played twice. C and the high NC, so we don't count it twice. That's why we actually only have seven notes in the scale, 1234567 and c. We don't count it. So most scales we've seen till now have seven nodes. The pentatonic scale has five nodes. So how to form a pentatonic scale? And I will start with the C major pentatonic scale. Now, the major pentatonic scale is derived from the first, the second, the third, the fifth, and the sixth notes of the major scale. So when we look in C Major than the first, second, third, fifth, notes are C, D, E, G, and a. So that is the C major pentatonic scale. So when we ended with a high C, like we did with the major scale, it will be as follows. When you play it down. That's C major pentatonic. So very simple. Just take the first, second, third, fifth, and sixth notes of the major scale. Other example, G major pentatonic. So the C major scale, as you know, is G, a, B, C, D, E, F sharp, G. So the first, second, third, fifth, and sixth notes are G, a, B, D, and E. When you played with the high G, It sounds as follows. Down. At our example, e.g. D. Major pentatonic. The D major scale. The first, second, third, fifth, and sixth notes are D, E, F sharp, a, and B. So when I play it up and I take most of the high D and down. Now e.g. the a major pentatonic scale. A major is, take the first, second, third, fifth, and sixth notes, and you have a, B, c-sharp, F-sharp, right? If I played a high, It's sounds. And down. Let me start on a black key now, e.g. E-flat major pentatonic. The E-flat major scale is. So first, second, third, fifth, and sixth notes are E flat, F, G, B flat, and C. So if I play it with the high E flat, it sounds and down. Okay, so that's the major pentatonic scale. Now you can find all the major pentatonic scales have older 12 notes. And the resources of this lecture. 5. 1.4-The minor pentatonic scale: Now that we've seen the major pentatonic scale, it's time for the minor pentatonic scale, and I will start with a minor pentatonic. Now, why do I start with a minor pentatonic? Because a minor pentatonic has exactly the same notes in its pentatonic scale as the C major pentatonic scale. Actually it works in the same way as with relative majors and minors. You know that a minor is the relative minor of C major. The a natural minor scale has exactly the same notes as the C major scale. Now, it works the same way with the pentatonic scales. So when you have a major pentatonic scale, you go with minor third down from C to a. And the minor pentatonic scale of a minor is done exactly the same as the, exactly the same notes. I have to say the C major pentatonic scale. Now remember that the C major pentatonic scale consists of the nodes C, D, E, G, a, the first, second, third, fifth, and sixth notes of the major scale. Now, when we start this same scale, not on C but on a, we get C, D, and G. And I could eventually also play a minor pentatonic scale. The a minor pentatonic scale consists of the notes C, D, and G. I can play it up. Then I can play it down. So that's a minor pentatonic. Now in the same way I can find other minor pentatonic scales. So e.g. when I want to note E minor pentatonic, well, what is the relative major of E minor? Well, go with third and minor third up from E, you arrive at G. So we have to look at G major pentatonic scale. Now, the last lecture you learned, that's G major pentatonic consists of the notes G, a, B, D, and E. So when I take exactly those same notes, but I start on E, I get the E minor pentatonic scale. So E minor pentatonic consists of the nodes E, G, a, B, and D. And if I play it up and I include all sorts of high E, I get down. So that's E minor pentatonic. Know what other scales, major pentatonic scales that we see in the last lecture, we saw e.g. also D major pentatonic. So, what's minor pentatonic scale? Can I derive from the D major pentatonic scale? Well, go from D minor third down, arrive at B. So B minor pentatonic scale has exactly the same notes as D major pentatonic scale. It only starts on B. Now remember that the D major pentatonic scale consisted of the notes D, E, F sharp, a, and B. So when we take exactly those same notes, but we start on B, we get B, D, F-sharp. And if I play it up and I include the height, b, I get down. We also saw the a major pentatonic scale. Remember that was a, B, C sharp, D, and F sharp. Now, a major pentatonic scale is the same, has the same notes as the F-sharp minor pentatonic scale because F sharp is a minor third down from e, from a, sorry. So the F sharp minor pentatonic scale consists of exactly the same notes as the a major pentatonic scale. It only starts on F-sharp instead of a. So those are Denotes sharp, a, B, C-sharp. And you can include, of course, the high F sharp. So up and down. That is F sharp minor pentatonic. Okay, The last major pentatonic scale that we saw in the last lecture was E-flat. Major pentatonic. I remember that was E flat, F, G, B flat, and C. Now, when I go a minor third down from E-flat, I arrive at C. So C minor pentatonic scale has exactly the same notes as the E-flat major pentatonic scale. It only starts on C. So C minor pentatonic consists of the notes C, E flat, F, G, a, B-Flat. And when I play it up and I include the high C, I get down. Now one other way to find minor pentatonic scale. We can derive that e.g. from the C minor pentatonic scale. So C, E flat, F, G, B flat. What notes are they? Those are not so seen from C because we're talking about just C minor pentatonic scale. So those are the root, the minor third. Now you notice E-flat in the scale of C is a minor third, the fourth, the fifth, and a minor seventh. If I want to find a totally other minor pentatonic scale and I don't know what to denote some of the major headed to the relative major pentatonic scale is, well, I didn't just take the root minor third, fourth, fifth, and a minor seventh. So let me e.g. start on D. So what is the minor pentatonic scale from D? Well, you know, of course you can take the major pentatonic scale of F because F is a minor third, minor third up from D. But let me say I wanted to take the other method, I don't know, denotes of the F major pentatonic scale directly to know D minor pentatonic. Okay, What was it wrote? Well, in this case, of course, D minor third. Minor third in the scale of D is f. Remember that a major scale in the indie necessarily to major third in the scale of D. The F sharp minor third is the root. Minor third, fourth, fifth, and a minor seventh. Remember that the minor seventh is always a whole tone below the root. D minor pentatonic scale consists of the notes D, E, F, G, a, and C. And when I play it up and I includes the Heidi, I get and down. So you have two ways now of finding minor pentatonic scales. Now, in this way, you can find all the other minor pentatonic scales that you want. But you can, of course, also look into resources of this lecture where you find a PDF file with all the minor pentatonic scales. 6. 1.5-Practicing the minor pentatonic scale: So we will start to practice with the minor pentatonic scale. It's good just to get it in your fingers. And we will start with the minor pentatonic scale of C. So the C minor pentatonic scale, I will start with the improvising section, also with two to improvise in C. Later we will see also other tonalities. So first, C minor pentatonic, so I repeat here, those are the notes C, E flat, F, G, a, B-Flat, C. And when you want to practice it, first, we will just play it up and down. Of course, this is not improvising. It's just so that you get to know there's a sticky learn the notes of the C minor pentatonic scale. So you could use this fingering, 131-231-3123, and you could end if you do it on two octaves, e.g. on the floor, if you want to go on, you go again on the 123, etc. So first exercise is just going up and down. Now of course, it's like always with practicing scales. It's not very fun jazz going up and just going down. So that's why I created a play along file to play along with this, with this scale. So let me put it on and let me just play the scale up and down, just over to play along just fine. I will first do quarter notes. So when I just, when I started to play a long file, you will hear the metronome clicking four times before it starts and you go to play the scale in exactly the same tempo is that the metronome clicks. So let me put it on and let me show you. Okay, well this is enough for now. I'll put it up. So what you're actually doing, just with the music, with the play along file just going up and down and up and down. Just for you to remember the notes of the pentatonic scale. Okay, Now, this is not very difficult, but it's a good exercise to just know well the C minor pentatonic scale. When you want a little bit more challenge, you can do eighth notes. So twice as fast. When the metronome Clicks 1234, you do, et cetera. Let me show you with the play along track, etc. Put it off. I think that for now this is enough to practice the C minor pentatonic scale. Okay? So practice just with the play along track. And it is where you will better know the C minor pentatonic scale. And I see you in the next lecture. 7. 1.5-Practicing with swing feel: In this lesson, we are again practicing the C minor pentatonic scale. But what's the difference with the last lecture? Well, the difference is that we're going to play it with it swing fuel. So what does it swing few mean? Well, a swing feel. It's used a lot in blues and jazz. And since we're practicing a lot with blues progression in a tool to practice the minor pentatonic and the blues scale, which we will do later. We do a lot of blues, so it's important that you can play them in, in Springfield. So what does it mean swing feel? Springfield is actually that you play, you could also say triplet feel. You've played with a triplet field. Now, remember that a triplet, when you have e.g. a. Beat that goes on like this, you can say triple, let triple, let triple, let triple, let triple it as a.dot.dot.dot.dot.11 enter two and 3.4 Enter. Now you can also count like that. Now with a triplet feel, when you play eighth notes than the first eighth note falls on the first beat of the triplets and the second eighth note on the third, so the last beat of the triplets. So that means that the middle melt. You don't play. Actually you play when you say triple, let you play a note on the Dred and on the lead, but not on the on the middle middle part there. So what you get when you say her when this is the bead, triple, let triple, let, triple, let triple. Let you do dum, dum, dum, dum. So this triplet field is swing fuel is totally other than straight eighth notes. Straight eighth notes would be dumped that dum, dum, dum. Now I will do with Springfield. Dum, dum, dum, dum that. So when you play e.g. the C minor pentatonic, spelled C minor pentatonic scale. You don't pay. You pay. You hear that? Dum, dum, dum. That means that the play along track that I will use for this lecture and that you can also download of course and resources of this lecture, as always. Also has this triplet fuel. Okay? I will put it on, you can hear it. Let me put it on here. Got you here. Dum, dum, dum, dum, dum, dum, dum, um, and then 1.2 and three and the four, and then you hear that off now. So in the play along file, you also clearly here this triplets swing feel. So we're going to play that. Since in the last lecture you already practiced with playing quarter notes. We're not going to do right here. We're going directly to play eighth notes. Eighth notes with triplet feel. So. So let me put on this file, this play alone file. And we're going to play along with the play along with triplet fill. There we go. Well, etc. You understand the principle? Let me put it out. So you're going to practice that play with triplet, fill with swing feel. After that. Try this first. After that, we're also going to play triplets. So we're going to play eighth nodes, bom, bom, but we're going to play every note of the triplet, pap, pap, pap, pap dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot that triple. Let triple, let triple, let triple, let triple 1.2 and 3.4 and 1.2 and 3.4. And in this way, let me put on the play along file and we're going to play the triplets. I went wrong here, but okay. You understand the principle. Let me put it as you understand the principle, it going it's going faster. Of course, it's more difficult than that. Just the eighth notes with swing feel. But it's a good exercise. Now, of course, I played here with the 95 beats per minute file. Into resources you can download three speeds, 80 beats per minute, 95 beats per minutes, and 110 beats per minute. You start, of course, with the 80 beats per minute file done. It's much easier to do the triplets. This triplet feel is this swing feel like you can also say triplet feel doesn't matter, it's the same man. Is very important that you get it in your fingers because we're going to use it a lot. So, have fun practicing with the play along files with the C minor pentatonic scale. In triplet feel. 8. 2.1-The Blues Progression: In the last lecture, when you practice with the C minor pentatonic scale, the swing fill and with a triplets, you did that over a blues progression. Now, this blues progression consists of the courts C, F, and G are actually C7, F7, and G7, which are, you know, that we're in the key of C. So C is the one chord, F, which is the fourth note into C major scale, is the four chord. F seventh chord is the four chord. G7 is the five chord. So we are working with 14.5 courts. Now this is very typical for blues progressions, but perhaps you actually not even know what exactly a blues progression is. So that's what I'm going to explain in this lecture since it's very important, because we're going to practice a lot with blues progressions. Now, blues progression that you've been using in the last lecture and that you also will use in following lectures, which I will explain in this lesson. It's actually the most simple form of a blues progression. There are more complicated blues progressions. But since this course is not specifically about blues or blues progressions, we're talking now about improvisation. It's not needed to know more complicated blues progressions. And if you want to know more about blues progressions, then you should do a blues piano course. Of course. As I said, we will do the most simple form of a blues progression with only 14.5 courts. Now why will display here the blues progression, the course progression of this standard blues that we will use urine this course. Here. You see we have 12th measures. Now it doesn't mean that every Blue's always have, has a 12th measures, but very often it has. And you see that indeed we have three different types of courts. To C7, the F7 and the G7. So 2,124.5 chord, as I said before. Now, if you followed my lessons about playing by ear, and if you did in that six section about playing by ear, diatonic chords, you might wonder, hey, if C is the one court, why is it a dominant seventh chord? Because we learned that the one chord should be a major seventh chord, the four chord. So the F7 should also be a major seventh chord, diatonic chord. Only the G7 five court was always a dominant chord. So that's okay, but why does C and the F are not major seventh chords but dominant seventh chords? Well, that's a typical characteristic of blues. Especially with this standard blues is always played with it, just seventh chords. So it doesn't follow the rules of classical harmony of the one to four to five being major seventh, major seventh and dominant seventh chords. Now they're just all dominant seventh chord. So again, this is just a characteristic the blues. Now, you might have noticed also in the last lecture that we played this C minor pentatonic scale the whole time over to Hole Blues, which means that apparently it fits over to C7 chord, even over the F seventh chord, and also over the G7 chord. So if I can play this minor pentatonic scale over to hold blues, why should I know the chord progression? Because I can just play this C minor pentatonic scale without even having to think of what chord. I mean, yeah, that's true. But remember that when we did the exercise, we just went without thinking up and down to scale, without even having any structure. It was not related really to when a new courts starts or so. It was just without thinking, going up and down to scale. It was just as an exercise it, when we're going to exercise to do improvisation over two blues. In next lectures. Of course. We're going to listen to the blues. We're going to listen when a line starts, when a line ends, when a whole round of the blues is played, when a new round starts. We didn't even listen to that in our last lecture. So for that reason it's important to know how the, how the blues progression works. Another reason is that later, we're also going to add the left hand. The left hand, you're going to play chords. Now, of course, when you're going to play courts, you need to know the chord progression. That's what, that's why I tell you what the basic blues chord progression is. One other thing is, well, you know, you see now before you. The blues progression in C, C major blues progression. What about all the other tonalities? Blues and G I Blues and D and blues and a or whatever other key. Yeah, we're going to do that later. But for now, for the beginning, we're concentrating just on the blues and see. Other question you might have is, hey, does it glues, can have minor courts. Yes, that's possible. You have minor Bruce, minor blues chord progressions. But we're not going to do that in this course. Again, this is not a bleu scores. I'm ingest a blues progressions. You see many other courts and only 14.5 courts, but also debt. It's beyond the scope of this course. Okay. I've been talking a lot. I think that it's time now to just listen to the blues. You will see while I'm playing the blues for you, I will just play the blues progression, nothing else. We don't do any exercise. I want you to get familiar with the sound of the blues and that you familiarize yourself with when a court to change comes, when around is ended, when a new round of the blues is coming. That's important that you feel this chord progression, that you feel the blues. For that reason. I will show in this chord progression exactly where we are, so that you can follow very precisely where we are in blues. As I said, I've been talking already far too much. Here it comes. Here is the blues. So you heard three rounds of the blues in C. And in the practice files that you have to practice how to MP3 player long files. It's also three rounds always. And after that you have this ending. Now, it's very important, as I said before, that you familiarize yourself very well with his blues. If you're not familiar with the blues, listen to it several times. Go back into video. Look also at the court's know exactly when the courts changes are coming and know when one round of the blues is finished and when the next round starts, this is really very important to improvise in a comfortable way. I repeat, listen to it several times. Look at the screen where exactly you are, which courts and dental I see you in the next lecture. 9. 2.2-Improvise with pentatonic Quarter and eighth notes: So what were you going to do in this lesson is to create our first improvisations, our first improv improvisational lines on the blues. So we will do that, of course, with the C minor pentatonic scale. And what we're going to do is actually creating very simple lines from the beginning, in the beginning just with quarter notes. So if the beat goes like this, we just bomb the beat exactly together with the beat. I'm off. This blues. The same beat as the metronome clicks, the first four clicks before the, the blue starts. So just coordinate is very simple. Just make lines. I don't know why. You don't have to start them to see you can start at another node here is what it looks a little bit longer line, but you can make also short lines like this. For now, I, I ended always on the sea, but you don't have to. You can add on another tone, of course, of the C minor pentatonic scale. So let me just put on the, the band, play along the MP3 player on file and let me just make some examples. Now, it is before I start to play along fine, It's very important that you feel really familiar with the blues. As we did in the last lecture. You have to know exactly where, where you start your new phrase. Remember that first one? The scale just up and down. We didn't listen to really do the blues. We just randomly up and down. Now I want you to make the lines. So Nikki also listen, e.g. start on the first beat of the measure. Now, I don't want to say that you always have to start on the first beat of measure. Actually, later on, we will also start on beat two or three, e.g. about 40 beginning, start. Always on beat one has. So if you've finished your line, wait till you can start your line on an, on a good moment has so on beat one over measure. Okay, let me just put it on and let's meet. Try some lines. 234. That's enough weight. We restart here. Okay. Would you have been calls for a URL to the bumper line? Okay. You round balls to read. A little bit longer length. Okay. So it is already. So you saw that I made just lines of the C minor pentatonic scale. Just make simple lines, quarter notes. Now, I started every line now on the first beat of a measure. But as I said before, you don't have to start your line on the, always on the first beat of measure. Actually, it's interesting when you don't always start on the first beat of a measure, you can start on the second beat, 123412. So I started here on B2. You can also start on B3. 12341234, etcetera. Now you know what I mean. Now, of course you will not always start a whole, an utter beat. You will very often still start on beat one. So we sometimes tarts, started on beat one, sometimes B2, eventually on B3. You can also start on beat four. Why not? I think mostly on beat one or B2. So let me put them the bent on again. Let us try that. 1234. Here I started normally on beat 1,234.1. I started on page two. Here on beat 112. I started on B3. Now I started to read for an hour, one, etcetera. Okay. For now. Now you, So you heard, I didn't always start on beat one, but I still listened to the blues to make phrases, not just randomly at random moment and stop at a random moment. I still listen to the structure of the blues. That's why it's important that you're familiar with the, with the blues, with the blues chord progression. That you know, where you can start and end your line. And that, you know, when I'm around of the blues is finished and a new round starts, you know, you have to know where you are. Okay. So we did coordinates. Now, we start at either on the wound or on a tour on the three. As I said, you can also start on the forehead. I didn't I didn't show you that, but I think that's obvious how to do that. After the coordinates we're going to do eighth notes. Now, remember that you have to play with swing fueled with triplet feel. So it's not 11.2 and 3.4, but it's 1.2 and 3.4. Dot, dot, dot, dot, dot, dot, dot, dot. Okay? I won't put the band on and I will play with eighth notes. And I will eventually also mix some time, some coordinates. So I will make a mix of quarter notes and eighth notes, but watch out those eighth notes have to be swung. So dum, dum, dum, dum, dum, dum, dum, dum. Okay. Let me put a band on. No, not a big one. You heard that I didn't start on beat one, but a bit later. Also here. Just note that even a little bit longer. Well, okay. You know what I mean? You make a mix of whole notes, quarter notes, eighth notes, and swung eighth notes. And you start sometimes on the beat, stumped, sometimes not on the beat, etc. Okay, let the band off. It's already at the end. Okay? So make a mix of quarter notes, eighth notes, swung eighths notes, very important. Start sometimes on the beat. Sometimes don't start on the beat, but start on beat two. Or even. On an upbeat, you can start at 1.2 and 3.4 e.g. then you start to just before a new a new measure or one. And 2.3 and 4.1. And then I started on the end of one. But you can also start on beat 112341, etc. You can start wherever you want. Of course, as long as you understand as he realized where you are in the blues so that you know how to make your phrase is how to start, how to end. That. You know, where a new round starts, etc. So it's very important that you are very familiar with the blues. I would say. You can use, by the way, the MP3 file that we used the whole time that you could download in the resources of before already in a former lecture. Okay, I would say have much fun and yeah, just practice and make nice new lines. And I'm sure that you will have fun with it. Okay, see you in the next lecture. 10. 2.3-Introduce triplets in your improvisation: So what we're going to do in this lecture is adding triplets. So we've done a quarter notes, swung eighth notes, and now we're adding triplets. So e.g. or what you could do. When I make e.g. a combination of swung eighth notes and triplets, I could do. Did you hear what? I didn't so first, our swung eighth notes and triplets, Chipotle, it does hurt again. Swung eighth notes. Dose also, sorry, one and 3.4 swung eighth note, triplets and two times two swung eighth notes. You can make other combinations. Of course, let me just put on the band and let me just dry a bit. And so combine eighth notes, swung eighth notes, quarter notes, triplets, start all the beat. Start on other beats, start offbeat. Okay, let me put on the band and let's try some things, etc. So you try all those combinations. And you try all the combinations. Don't worry if you make some mistakes how you sorted it also made some little mistakes. No problem at all. If you don't make mistakes, you will not advance. It's always like that. Try that. Combine coordinates, swung eighth note, triplets, and sometimes make long lines at some times make shorter lines. Start on the first beat, start on other beats, started on the upbeat that you sorted. I very often started on an upbeat. So if you, if you collapse the beat 1.2 and 3.4, I start when my hand is up, so sorry. Now you saw that I started when my hand was up. You don't do that every time, of course. You, you, you, you do. Sometimes she started to really on the beat on differs between second, third or fourth beat and sometimes offbeat. Okay, enough to practice, I would say enjoy. And I see you in the next lecture. 11. 2.4-The Blues Scale: Okay, So I hope that you are quite familiar now with the pentatonic minor scale. Her to C minor pentatonic scale, because you've done quite some exercises, so you should really have it in your fingers a little bit now already. Now, after the minor, minor pentatonic scale, I think it's now time to introduce the blue scale. And actually, when you know the minor pentatonic scale, blues scale is very simple because it consists of the minor pentatonic scale with only one node edit. Now, let me illustrate this. And you know, that's the C minor pentatonic scale by now, you know why that's the route. I can also call it one instead of the router, the minor third. And you can also call it flat third, and it's the same of course. Fourth, fifth, minor seventh. And I will call it the flat seventh now. And back to the road or one. So that's the minor pentatonic scale, the C minor pentatonic scale. Now, the sea blues scale consists of these minor pentatonic scale, the C minor pentatonic scale. And I add just one note. This is the F-sharp, or you can also call it G flat. And so that means it's the sharp four or the flat five, doesn't matter. It's the same, I will call it sharp for it for now. So might see, blues scale is then wrote for one minor third, fourth, sharp 45, flat seven, and back to row one. And you hear that there's much more blue sea effect in this blue scale than with the minor pentatonic scale. This just by adding this note. So this C blues go, it's really very simple if you notice he minor pentatonic scale. Now, let me, just for illustration, show you the a minor pentatonic scale. We will, for now still practice with this, see blues scale, but later on, I will also introduce other tonalities. So let me just, for illustration, show you the blue scale. Now, you know that the a minor pentatonic scale consists of the root minor thirds, which is just a minor third, because the a major scale is the first three notes. This is the major third. Minor third is always halftone lower. Yeah, so that's the flat three. So the E minor pentatonic scale is flat, third, fourth, fifth, minor seventh. And back to root, or one. Minor seventh is always a whole tone below the root. Because normal seventh, which is in the scale of a major, would be this one. This is the major seventh. You can also say to seven, it's the seventh note in the a major scale. So the minor seventh, flat seventh, is then the G. Again, the a minor pentatonic scale you would already have, but root, minor thirds or flat third, fourth, fifth, minor seventh, flat seventh, vector road, or when we add the sharp fourth or fifth, flip flat five. So what's the fourth in the a major scale? Fourth is the D. So D sharp for work flat five is the D sharp or B flat. So the, the blue scale is then D, D-sharp, E-flat, G. Okay, as I said, other blues scales and minor pentatonic scales will follow up later in the course. For now, concentrate mainly on the sea blues scale, because that's what we're going to use in next lectures. 12. 2.5-Practicing the blues scale: So now that you know how the blues, the blues scale is, you're going to practice with it on the piano. Now, first of all, we will practice just the blue scale up and down, like we did with the minor pentatonic scale later, we will make a nice melodic lines here, really improvising, but just get used to this blue skilled. See BlueSky. We'll just go up and down this scale and we will do that with a bent, of course. Otherwise it's no fun. But before I put the band on, I will just show you a little bit about the finger positions. There. Several possibilities. One is to first 1234 and then with your thump and g hat under ego, with your thumb under your ring finger. For one octave, that would be just like that. Another possibility would be using only those two fingers. For the last, you use Dunn. Also your index finger on the B-Flat has said it would be 133123. When I play, you see me do actually both finger positions. When we go up more octaves. You could do then again, the first method would be 123412. Doesn't go again on one on the sea hassle. You go with your thumb under your middle finger. 34123. Or if you want to do more artists, don't end on the three buckets. You and on. You go on with the finger one, et cetera. Down of course. As always the same thing, but in reverse order. If you use only those two fingers that, and occasionally, occasionally also the index finger, it would be say 2, 1 3, 1 3, 1, 3, 1, 3, 1, 3, 1, 2, 3 and back. 32. 131-313-1313. We have two possibilities. Okay? What we're going to do is practice with the bent. As always. At first, we will practice with quarter notes going up, going down. No, I will not. As was the case when we did when we practice for the first time, the minor pentatonic scale to C minor pentatonic scale go without thinking up and down and up and down. You now know the blues progression. So you should do it in a nice way and start again on beat, one. On the next measure, I will show you how I let me first put the band on 12 341-234-2333 for the other finger positions? 34. Okay. Well, you understand that? Let me put off then. So that's a quarter notes and I always count to four before starting to go down or back up, so that you are always nice. You always start nicely onto one when starting a new round up or down. You can, you can do also. Eighth notes, watch out. Swung eighth notes, it died or dad and dad are not that. Well, you know what now what swing fuel is. So let me do that also. And we go also up and then we have to wait a little bit. Now not for accounts. You will see how many I put the band on. So there we go. 234. You saw that? The other finger positions important? Well, let me let me start the ventures. Important is that you now don't count still four but just 34 and done. You restart to go back up or to go back down. So that's eighth notes. You first do the coordinate notes than do the eighth notes. Third exercise would be triplets. So when the band is 1234, it will be only, we go now three octaves up so that it fits with our, with our blues progression. So you see, this is a little bit more challenging. I went wrong there too. Okay. Let me put on the band and let me show you 234 more. 434. Okay, now you can get boring. Okay, so does this already much more challenging when some wrong also. So also that's in the end. I made a little mistake with the fingering, also in this case. So with triplets, you go up three octaves. Counts, 34 at the end of a round up or round down. And then you start not everyone up or down. Okay. I think that this is quite challenging. Did a triplets. But yeah, of course in your improvisation you're also going to use triplets, so it's good to know how it works. Now, if you make some mistakes, it doesn't matter. You see, I make them also important is that you feel how it goes, that you feel how this blue skin works, and that you can use those quarter notes, eighth notes, swung eighth notes and triplets in your solo. Okay. See you in the next lecture. 13. 2.6-Blues scale improvisation Quarter and eighth notes: Okay, Now that you know, to see blue scale, it's time to improvise, to create some musical lines with it. In this lecture, I will do, I will play, the band, will play some musical lines, and we'll do that with quarter notes and with eighths notes, of course, with swing fuel there when I play the eighth notes. So either on the beat or with eighth notes. First time I did the, the coordinates in the second time I did the eighth notes. This swung eighth notes. Okay. Let's start. I will just put the band on. You can, of course, start always with the first beach. Good. Start on another bead. You can start on an upbeat. All the things that we've learned with the, with the C minor pentatonic scale. We will try to, to, to do that here in this improvisation. But first, as I said, only with coordinates and swung eighth notes. So there we go. 234. I started on a beach, sorry. Okay. It's the end of the third round. Okay. So you heard me doing some several lines somewhere nicer than the others. It doesn't matter. It's just for practice reasons. You find your own lines, of course, which doesn't mean that you've kinda take my lines. Of course you can. You can first copy my lines and then later try to find your own lines. Experiment. Played several times. This play along track, by the way, just play along track is still the same one as that we used before. And so when you cannot find it into resources of this lecture, you go back In the intellectuals with the, with the C minor pentatonic scale, it's exactly the same resource file. So try to do all those things. Coordinate notes, eighth notes with swing feel, started on the beads, start on other beats. B2, b3 start on an upbeat. You can start just before a beats. The first beat begins hazard, it's on beat four, or on the end of four. There are so many possibilities that you can, that you can use. So I would say, try it out and have lots of fun. 14. 2.7-Blues Scale Improvisation Adding triplets: Okay, let's take the improvisation one step further. We're going to add triplets. So we don't only have quarter notes and eighth notes, swung eighth notes, but also triplets. So once again, coordinates is just with the beat. Eighth notes is swung, eighth notes is as follows. And then triplets is. Okay. So, yeah, For the rest, we're going to apply all the tricks that we've learned before. Start on beat one or B2, or on the end of one, or the end, or the end of four. Or as I want an upbeat, we're going to apply all those tricks. We're only going to add now triplets. So let's go. I will put on the band 234. Now you hear that I apply everything. Yeah. Sometimes corridors notes, sometimes eighth note, sometimes tripling. Sorry, little mistaken. Well, etc. So that's the end. The third round. So apply all those tricks. Coordinates, swung, eighths, notes, triplets, start on beat one, or B2, B3 on an upbeat, etc. So try it out. You can use my lines again, but don't forget to create your own lines. Have fun and see you in the next lecture. 15. 2.8-Blues Scale Improvisation Sliding: Let's try to add some more embellishments to our solos. We're going to do is sliding at, we're going to use, we're going to slide from the sharp forth. So the F sharp in the key of C, And as you know, where the whole time in the key of C, What I mean by sliding is that you slide with your finger from the F sharp to either the G, and it's a quick movement, or sliding down to the F. It's sort of lines where we're adding ISO. So let's try it. I will put on the band and I will put you don't slight everywhere. Of course, I will perhaps exaggerated a little bit just to show you how you can use this slide, but use it from time to time. Okay, Let me put the band on 234. Okay. That's the end long file. Okay. So I exaggerated it a bit. Of course, I put far too much slides in it, but it was of course, to show you the effect. So try it it also. For the rest. Of course you, you, you use Gordon notes, eighth notes, swung, eighth note, triplets, and the slides. And of course, as always, you start on beat 1234, on upbeats, etcetera. Okay, try that out, and I see you in the next lecture. 16. 2.9-Blues Scale Improvisation Double Stops: Okay, we're going to add another embellishment, so-called double stub. So what is a double stop? Actually, it's nothing more than just playing two notes at the same time had till now we have only play one note at a time, but you can play two notes at the same time. I didn't show you all the possibilities. There are many more possibilities. Of course, you can even do drill work. And very often we combine this. Double stops already trails with a slight, so e.g. slight double stamp. You see, I keep playing this Jai Siya. Double stops. Or with a trill, r. Those are all possibilities. So we're going to add that stores solos and I will, as I will put on the band in awhile and I will try to solo with those double stops with those drills and with everything that we've done before. So the quarter notes, eighth notes swung, eighth note. Triplets start on different beats and upbeats, etc. So let me put the band on, let me try something. 234. I see this. It's also a way of using this double sum. Okay, that's the end of the play along track. Now, perhaps you saw me adding even some other notes. I did this. And a is not in the, in the, what's it called the Blues Scale. It is possible to add the a. I actually wanted to talk about that later. But yeah, I was soloing and just throw in through in the the a. But you'll get it from me later. For now. Let's just concentrate on the blue scale. So what things did I will do? I did on the, on the octave. Here. You see, I do it with the slide. All those kinds of things you can add to your solo to make it more interesting. So I would say, try this all out. Keep practicing all this stuff, everything after each lesson. Try to slightly add all those techniques and practice them a lot so that you really mastered them so that you familiarize yourself with all those techniques and just enjoy soloing because it's, it's fantastic to do. Okay. I see you in the next lecture. 17. 2.10-And now the left hand: So till now we've been only a soloing, playing with our right-hand. What's to do with the left-hand? Well, actually you can ask yourself, is it necessary to play the left-hand? And the answer is, well, sometimes yes, sometimes no. Imagine you're playing in a band and you have drums, you have bass player, you have a guitar player who is playing chords behind your solo. Well, do you need a left-hand? Well, no, actually, no. You don't need the left-hand since the guitar player is already doing courts. And you have a bass player who accentuates the bass notes. And so you don't really need to play your left hand down and it's enough to play just the right hand. But if you're playing in a trio, e.g. bass, drums and piano. Bass player does only bass notes. Well, you could eventually play chords then with your left hand. Or if you have also a guitar player. So drums, bass, guitar, piano, and guitar player only place some very, very subtitle sounds, little background sounds. Then also you can still play with your left hand courts. So that's what I'm going to show you in this lecture. So remember the blues progression, that was a 12th measures. So first four measures of C7 to measures of F7, to measures of C7. One measure of G7, one measure of F7, and then the last two measures are again C7. Now, I already told you this is only a very basic chord progression, head or audit chord progressions. Very often. The last measure of the Blues, which is a C7. A G7 is played before starting a new round of the blues. So you have a minor blues, you have jazz blues. You have more advanced yes, sorry, blues progressions. So there are so many variations, but since I said this is not a bleu score, so I will just simply concentrate on the blues progression that we know that, that I just mentioned. And we will just play the courts. So what we can do is e.g. play C7 here. That's a second inversion. F seven years as the root position, the G7 here, and that's the third inversion. So G, B-flat, C, and E is the C7 squirts root major third minor sevenths than the F seventh chord. Root major third minor seventh. And the G7 courts, Courts root major third minor seventh. Of course, you can also do other inversions. You could do e.g. this C7 is in first inversion, that F7 third inversion, and then G7 here in second inversion. That's also a possibility. I will use this one for now. Of course, you can have a problem when you want to solo here. But you could take, you can take temporarily two fingers off to Soto here and add them later back in. Those are all possibilities that are, you pay just higher up. Now. For now, I will only concentrate on the left hand. I will not play to write head because I hope you familiarize yourself with the blues progression. When you pay the courts, you will even familiar, familiarize yourself more with the booth progression because you have to know the court said in April in order to play. The courts. So let me put on the blue side with the band and I will just play those courts. So you try the same thing, of course. So let me play, let me put on the band. Go to the F7 chord, back to C7, G7, F7 as C7. New round of play, exactly the same thing. Of course. Let me put off let me put up the band. So you just practice this. I didn't know one round about. You can use the three rounds of the, the play along file. Of course. Try those inversions that I showed you. Try also other inversions. You can even go higher up, but as you know, problem is, you get in the way with your right hand. So this is only very short, short lecture just to show you how you can play courts in your left hand and how to familiarize yourself even more with the blue. So try this and I'll see you in the next lecture. 18. 2.11-Adding the 9th: Now, when you did the exercise in the last lecture where he played the courts, if it's good, you're now really very well familiarized with the blues and know exactly when the chord changes are, etc. Now, do you always have to play the chords in this way? Doesn't it become a bit boring when you always play it in this way? Well, yes, it becomes boring. So we need some variation. To make some variation, we're going to add some, some notes to the courts. But before we add notes to the courts, we will first take some other notes off. And well, let me take the C major, C dominant seventh chord. Let me just take it in position to start with. Now, which notes are not so very important in this court? Well, you would say, well, all the nodes that are important, because of course consists of the first, third, and fifth for a triad and including the seventh for a seventh chord. So all the four are important. Well, that's not totally true. For instance, the fifth is not that important. Why not? Well, take a look at the difference between the three most important courts that we, that we have. Those are the major seventh, the dominant seventh, and the minor. So you know which notes apart from the root. Now, which nodes are, which note, I should say is in all three courts? Well, have a look. Don't. You see that the G is present in all three courts apart from the root and it's also always present. Because in major seventh chords, of course, dead ends to the face, but let me look at it to other nodes, you have a major third and a major seventh. The dominant seventh chord is a major third, minor seventh, minor seventh chord, minor third, and a minor seventh. The third and the seventh are always different and they actually define the quality of the courts. So the third and the seven are the only two notes that define the quality of the courts. In this case. It's a major seventh chord. In this case, it's a dominant seventh chord. In this case, it's a minor seventh chord. G. It doesn't say anything about the quality of the chord. So that's why it's not so very important to play the G. So you could actually just play the courts as follows. So the major seventh, the dominant seventh. Minor seventh. Now doesn't mean that you may never play the fifth. Sometimes it's nice suit to add the fifth, but it's not really needed to define the court quality. Now. So that's one note that we will not play. Not always play. I should say that we will not always play in the courts. Sometimes we do. Another note that we will not always play is the root. Now you say, of course, Hey, the root, but that's important because it's, well, the court is based on the root note heads even named after the root node. Yeah, true. But if you have a bass player, normally ablate, the bass player, place already the root note, especially on the first beat of measure. Measure. He will mostly play the root note of the court to define, really did harmony. But even when you don't have a bass player and you want to play, and he would use the third and the seventh. This is a dominant seventh chord. Now, your ear hears actually the root, right? Because of the harmony of the song. The ear hears the route already, so it's not always important, important to pay it. So we can play rootless, rootless chords, rootless voicings. Okay? But we said we would add notes, okay? Before adding, I said we will first take off notes. So two root and a fifth we take off. What are we going to add? Now? Let me for now just take the court as it is with root and fifth, just to explain you which notes we're going to add later, we take them back off. So we have 1357. Now, I'm going to say we add a ninth, watts in ninth, ninth. But I hear you say, well, I only have seven different nodes. If I play my major scale, e.g. I. Have 12345678 and then it stops. And aid is actually one. And then they go back two to three. Okay, Let's call this one, not one but eight. Let's continue counting. This would be nine, isn't it? That seems a bit strange. Why would I call this dynein? Because it's actually the second. Well, when I see it from the perspective of 1357, then I go up in thirds as you see, first a major third, minor third, then another minor thirds. When I now go to the D, and I go up another major third. So it's the whole time going up in thirds, sometimes minor thirds, sometimes major thirds. So 1-6 is a third, 3-5 is a third, 5-7 is a thirst. So 7-9, there's also a third. So that's why I call this note now nine. You can call it this second if you want. It doesn't matter, but I will call it denied. So we're adding to nine. So how does my C9 chord, so that's actually the name of the chord, the C nine courts. Well, it looks as follows. We have, I will take it here. And I take off the root and the fifth. So I only, I'm left with Major third, minor seventh, and ninth. If you see a chord symbol C nine down, it implies always, always also the seventh. The seventh is also always presents. The other way. If you see a chord symbol C7, you may always adds the ninth without any problem. So even if you see C7, you can make a C ninth out of it. So this is another seat. I will call it C7. C7 chord, even if it's C9 chord. But this is our new C7 scores. Okay? It's a very open sound. We compare that with what we had before. If you have r, and that's called the normal C7 chord, that we have a lot of notes that are quite close to each other. And it might sound a bit full. At when we do this, we have a much more open sound. You can also nicely solo over it. But just a way to nice to be able to play here. Okay, how does this look for the F7 chord? Well, remember, we did the C7, we did Major third, minor seventh, and the ninth. Well, let me take the major seventh in F, that's a minor. What is a major third? Major third, minor seventh. Well, that's a whole tone below the root. So to C, E flat and denied, Well, that's a whole tone above the root. And this root 11 whole tone above G is the ninth in the key of F. So this is my seventh chords with the ninth that's on F9 court. And g nine. Well, I do the same thing. I have third major, third key of G minor seven notes on below the root. Ninth one pole tone above the root. And this is my g nine chord. Now, you see that I'm very much up to the right eye with my left hand, which doesn't gave me possibilities to solo with my right hand unless I'm solving higher up. Well, as I said, you don't always have to play the ninth day. You can just simply play for a G7 chord, e.g. minor seven. And major third. Same thing for the F chord, a minor seven, major thirds. C seventh chords with the edit ninth has less problems because as you see, we have still much room left for the right-hand. But of course you can pay. No problem to exercise. Those. Courts were going to do the same thing as we did in the last lecture. We just put on the bands and we're just going to play those courts. Put on the band. And later you will do the same thing. There we go. F7 chord effect to C7, G7, F7, C7, sorry, a new route. You are trying. Putting off the band, okay, so try it out yourself. And I see you in the next lecture. 19. 2.12-Bringing both hands together: Okay, Let's try to bring both hands together. So in the left hand we will play the courts and in the right hand we will solo. We will start to do it very simply. Which means I will just hit the courts always on beat one of the measure like we did in the exercise assigned a former two lectures. Later, we will add some rhythm into left hand, but that's for later as I said. So you're going to do e.g. to seek court. You can first play it in the classical way with, with fifth root. I have to take my finger away to be able to play here. For the first measure, e.g. in the second measure, you could play this variation here with the ninth. Seventh chord. When we play higher up, we can play e.g. here, G7, same thing, we can play it here. If we play loa have we pay higher up? It can play here, etc. Okay. I will put on the band and it will just improvise a bit. So interchanging the courts, this classical courts with our nine courts. So let me put on the bend. Okay. So I kept it quite simple. I don't do too much with my right hand. Because if you want to make the best solo in your life, just starting out, well, that will not help you very much. Just try it simple in the beginning. And even if you do it simple, you can make mistakes how you sorted. At the moment, I didn't hit the F chord at the right moment. So that's all possible. Just be sure that you keep it very simple. But always on the first beat. Well, I have to admit that sometimes I didn't even play on the searcher has beat because I was busy here that I started on the second beat. That's no problem. In the next lesson, we're also going to see that we're going to add some rhythm with our left hand. That means that you're not always playing on the first beta and you see that I naturally already started to do that. So if that happens to you, that you want at the same moments to play something here at the same moment, be at the first beat with your left hand ready for the next court? Yeah. Well, it's kinda happened at your work, just doing something here and oh, I forgot my first beat them you started on the second beat is no problem at all. So keep it simple. Do it several times. Really. Practice this. I don't know, it depends on you how many times you want to do it, but really try to get this left, right hand coordination there. And so that's why you have to keep it simple and to do it many times so that you really feel comfortable to go on to the next lesson. So, see you in the next one. 20. 2.13-Adding rhythm in the left hand: Okay, Now, when you always start on beat one to play, your court, also might start to be a bit boring. And also, you saw that in my last lecture. Sometimes you're so busy with your right hand, your forgets to place your chord on beat one. It's happened to me also that I it a bit later, B2 or on the end of one. But you can, even within a measure, within the four counts of a measure, do some more rhythmic worker. You can do something to make it more interesting. You can also change the court has. So when you go from, Let, let me say from the sea to the F chord, let me take that classical courts now with the fifth and the root. You can also go on the end of four already to the next course before the next measure starter. So 1,234.123. You can even do a little jump like this. 1234. You get this. There are so many possibilities. So what did I do? 1,234.1, 234 e.g. that could be a little rhythmic variation that you could make in your left hand before I hit again deceit. And on the end of four, so before the next beat, I already hit my escorts by F7 chord. All possibilities. Within one course you can change from this voicing to this one, or from when you are in the f from here to here, you have so many possibilities that your ear be your guide of what sounds well and what sounds well, less or okay. Let me put on the band and just try some things. There we go. Okay. This list. Okay. So you saw that I did several things. I did. This head is 12341, which I explained before. I also sometimes didn't even play play something and then later on beat one, I don't know, I can't remember. Three or four. I started to give one little map, directly went to the next court. I changed from this to this within one measure, several possibilities that you can that you can check out for yourself. You can discover other possibilities that I didn't tell you. Other rhythmic possibilities. There's so much to do. The sky's the limit. So try that yourself and add some rhythm. And I see you in the next lecture. 21. 2.14-Adding the 13th: We are again adding some notes to our courts. Remember last time we added the ninth. And remember how that to deny. Let me take the classical C seventh chord. It was because we call these different one to three to five to seven. And this dynein know if I would go on by going another third up, and I will stay in the key of C. So that will be a minor third in this case to the F, Well, nine plus 211. So this would be the 11th, even if you can call it the fourth, of course, but in this context, we call this the 11th. Now to be honest, 11th doesn't sound fantastic. Listen, when I play a normal C7 chord and I add the seventh. 11th, sounds quite dissonant, so we will not add the 11th. So what's the next one that we can add? Well, let's go another third, up from the 11th or from the f within the C major scale. So here, a major third this time up. 11 plus two is 13. So this is my 13th, which is of course the same as the sixth, the 13th, but again, in this context, we call it the 13th. That sounds nice. So what we're going to do is to add the 13th. But first of all, let's, let's again take out the root and the fifth. Now, I can add, of course the ninth and the 13th at the same time, but let us now not add the ninth is only the 13th. So what do we have? Two basic notes of the court said was the major third, minor seventh. So in the case of c, Let me do it here are the major third to eat, the, the minor seven, D to B flat, and let me add a. Now of course, this is very far. I couldn't even have quiet big hands, but it's almost impossible to take it. So we will do, we will inverse the seventh and the third. So I will take the seventh year. Minor seventh major third here, and under 13. So this is my C 13th, but I could just call it a C7. Also. When you see C7, same bowl, you can just add the 13th. Why not? By the way, if I would also add to the ninth, which is here, I get this. It's also a possibility. But this is a CT which is quite often used in jazz by the way. Yeah, so let me paid with the root. So did you hear it better? It's nicer. If I leave out the ninth. Also very nice as a C7 chord. So, why don't I use them both? Ninth and the 13th? Well, you can, of course. I don't say don't do it. Who am I to say that? But perhaps it sounds a bit fool. Sometimes it's depends on the situation. If you're only playing with a drummer and a bass player? Yeah, why not put in 9.13 together? When there are more instruments, it quickly becomes quite full. Perhaps you prefer a more open sound so that in that case, I would do this as 13th or justice C7. Now, this is quiet in the range of my soloing us, so I'll do this one only when I'm higher up with my right hand. Let us look at the F teens or F7 chord. So I take my seventh, my third major third minor, third, major third. Where is my 13th? Well remembered at the 13th is altered. Is also 0. Sorry. I'm in a G chord, so I'm not even in the escorts. What am I saying? Sorry, I will do due to GI court later. Let me first do the escorts. Sorry for the confusion. Of course, the minor seventh is here and major thirds here. I was speaking of the F chord and my a, my head, I was already with the G chord. So minor seven thirds. And where's the 13th? So remember that the 13th is always the same note as the sixth. Well, Let's go up. F-major scale, sorry to see where two sixes, so that's 123456. So the D is our sixth or 13th. So when I add the d to those two nodes, I get this one. This is my F3 genes are simply F7. Would like to add to the ninth, which is the G. You can get Discord I, but we said we would, we prefer a more open sound. So just these when I play it with an F in the bass. Okay, so now finally to G minor seventh. Major third. What is the 13th? Well, let's go up into G major scale. In the 13th is the same as the six. So 12356, and the E is our 13th. So this is our G7 or 13th courts, none with the base, with the root in the bass. So what's possibilities do we have? So again, I started with C. We have classical C chords. We have the C9 chord. We have the 13th chord, the F. So we have to classical F chord seven. We have the F, What was it? F9 here, and the F 13th here. For g, we have the classical chords. I take note always one inversion. You can take it in every inversion you want, of course. Why not solely a root position? Of course you can, but let me now take this third inversion has said this is the classical geoid seventh chords. Now let me make the G9 Court is this one, G 13. So we haven't month a lot more possibilities to make variation. So what should you do to practice those courts? Well, normally you should have practiced already did the standard had a face and you practice with the ninth chords. So when you want to practice with the 13th courts, you can of course do the blues progression and play only 13th Corps. So you go to measures of C, one measure of, sorry, two measures of f, back to measures of C than one measure of G When measure, measure. And back to measures of C. I would suggest that you do that, but I will not show it to you because it's so obvious. So just take your play along file and try that several times so that you get it in your fingers. After that, you're going to try to solo with it. And we're going to try to use everything we know till now. So the different forms of the courts as the classical, the dynein courts, the 13th chord. We add rhythm and we try to make a simple solo with our right hand. At the same time, I do this only when you are feeling comfortable with the three types of courts that with the classical course. The ninth and the 13th cortex, you can rapidly change dose courts. So let me put on the play along file and let's start and try something. Okay. So I didn't know nothing special. I only added sometimes this 13th courts with what we already knew as well. So with the three types of chords, with the rhythmic patterns in the left hand and with the soloing in the right hand. So try that also. And I see you in the next lecture. 22. 2.15-Adding more notes: Now instead of adding only the ninth or the 13th, or a combination or the ninth and the 13th. You can add even more nodes. A very nice note to add is the sharp nine. Okay, what's this sharp nine? Well, when you are in a C7 chord, let me take a C7 chord here when these is denied. Well, the sharp ninth is this one. So it is a D-sharp. Now, this looks a little bit as the minor third. In C major. This is a major third, minor third, But we don't see it as a minor third. We really see it as a sharp nine because you cannot have a minor third in a major chord. I also remembered that this node is also in the blues scale. And also dare, we called it deflects. Third, we called it, well, I didn't say minor third. I said I said floods three, but actually it's a sharp nine, but that doesn't matter. So the sharp nine, we're going to add the sharp nine. Now, again, I will take my faith and my root out. I go again to my two basic notes of the courts with charge, as you know, the major thirds and the minor sevenths, and I add my sharp nine. I will play it with a C in the bass. Sounds nicer. Now this chord is used a lot in jazz, but also a lot in blues and even in rock music. So this is a very useful court to know. Know. So we can add this one to our playing. Also. E.g. when you're soloing, change between the night and sharp night. That's also a nice effect when you change between sharp nine and denied. Of course you can add other notes. Remember that I said that the 11th didn't sound well. But look, when we go to Halftone up to the sharp 11, it better. But to be honest, this becomes already quite jazzy sound and we will not use it here. So for now, we just add the sharp nine. Another note that you could eventually add is the flat 13. When the 13 in the key of C is the a, that would be a flat. So now this sounds all also already quite jazzy. And I would suggest for now that we only added to the G7 squared y. Well, when you add it to the seventh chord. So two of the 13th was the E hazard flat. 13th is the E-flat, which is already in our blues scale, her, and which is also our sharp nine in the, in the scale of C. So you could e.g. just play this court sometimes. So F minor seventh is a major third and E flat, the flat 13. Okay, So the only two additions that we would make would be adding the sharp nine. I show it now in the C7 score Tie indices. We call the courts, by the way, C7 sharp nine. Now you see it's notated here above the virtual piano, C7 sharp nine, and we'll play it again with a vase. C7 sharp nine. Okay, so we have done the flat 13. But as I said, I would only do it in the G7 chord for now. Concerning this sharp nine, I only showed it in C, yeah, I didn't show it in the other in the other keys. So in G, what is the flat third? The, what did I say to the sharp nine? Sorry. The sharp nine. Well, the ninth is the a. Let me take it here. So the sharp nine is a sharp. So when we have, well, this would be too far away. That's all that we inverse the third and the seventh. Now this is the third major, third minor seventh. And I take my sharp line here. This is G7 sharp nine. When I paid a G in the bass. Nice sound. For F Major third, minor seventh. What is the 9th? That is this one. So the sharp line is this one. Yeah. You could add that also. Yeah. It's a little bit more dissonant because this is a flat. Yeah, we don't use that really in this. In the soloing. You go to eventually added, perhaps not so often as with the G seven sharp nine and C seven, sharon, that's all the additions that we will add. Now. C7 sharp nine, G7 sharp line, and eventually sometimes the G7 flat 13. So if you're going to add all that to your solo, your solid will be even, even richer than it was without the addition of those three chords. Let me just quickly play a little bit with Oscar said so those courts, sorry. So I will put the band on. Okay. Okay. So you saw me year using sometimes those sharp ninth and I think one or two times I can't remember. This court had is G, 7th flat 13. So try that out and see you in the next one. 23. 2.16-Extend the blues scale with more notes: Okay, We will extend our blues scale with some extra notes. So this time we're going to add notes not in our left-hand node in the courts, but in the right hands, the hands in which we're doing this solos. So remember how we have now just this flood 3445 flat seven, and back to root. So what notes are notes? Can we actually add? Well, we can use the notes of the C major pentatonic scale. Now, it's already a time, quite awhile ago that we did the major pentatonic scale. So let me quickly repeat it for you. The major pentatonic scale consists of the first, second, third, fifth, and sixth notes of the major scale. So that's first, second, third, fifth, and six. D, E, G, and a C major pentatonic scale. So those notes we could eventually add to our solo tour to the, to the blue scale. You saw me one time before doing this. Remember? So actually used already the a, which is out of the C major pentatonic scale. And look, I can do this. Let's see. I make a slight to the e. And actually the e is just a major third in the key of C, and we're playing in C major. So the E is totally natural tool to use the IAEA in, in C major. So this is a nice little lick that you could play here. So we have here, we added a D. You could add it also. You see it less often perhaps, but eventually added. You can add even more notes. Now, normally you would say the B, it's not possible because we have our seventh, minor seventh. But you could play it as a passing note, as a chromatic passing note, e.g. I. Don't stay on the, on the B, of course. Because in C major, listen how that sounds. Very decent. Dissonance. You don't stay it. But if you do this, hardly noticed that dissonance. Do you listen one more time? You hardly notice the dissonance. Is this a chromatic passing note, chromatic because we play, if you play all notes, this is chromatic playing, e.g. in this, in this case, it'd be, is it chromatic passing notes? So e.g. this is a nice line. Why not? One thing I wanted to say about the E is that you have to watch out when you're playing the F chord. Because if you have E-flat minor third, so d, e, very dissonant. But again, if you're just playing it quickly, you hardly notice the dissonance. So you can play to eat, but don't stay on the E. Like that's very dissonance. Don't stay on it. Yeah. So let me just put the band on and apply some of the things that I just mentioned. So there we go. Oh, Okay, so you heard me applying some of those new tricks. So I tried it yourself and have lots of fun. 24. 2.17-Blues Scale in G: Now till now we've been improvising into key of C. And of course you don't always improvise in the key of C. Sometimes you have to improvise and another key. So let's look at some other keys and let's start with the key of G. So in this lesson, I do only the right-hand. Later we come to the left-hand, but we have to know what the blues scale is in the key of G. So remember the blue scale that was rooted, in this case, G, of course, flat three or sharp 94, sharp 45. Minor seventh. You can eventually end with the high G. So you can play that beat in the same way as with the Cebu scale. So mainly you use your thumb and your middle finger. Here. You could go down. Here, you use your your index finger and you go back again to your thumb. And with your with your middle finger has okay. So yeah. So you should practice with that. You can just go up and down the scale. You can use the play along file that is in the resources of this lecture. Of course, you cannot use the same play along file because we're not anymore in the key of C. So in the, in the resources you find the file in G, three files are three speeds, 80 beats per minute, 195 beats per minute than 110 beats per minute. Okay? So you do that. I propose you do that before going on with this lecture. Just to get this in your finger, if you don't want to do it with the play along file, you can just go up and down to scale if you want, but get it in your fingers. That's important now, yeah. After you have practiced with this blue scale, with this blue scale in G, you can try to make some, some lines. Drill, remembered it, slides, etc. So try that also. And of course, you can use the play log file for that. Perhaps I should show it. Let me just take the log file and let me put it on and let me just play it for you. Okay. I resolved now. You understand justice. Sorry, it would take to play along file, try to practice this blue scale. You saw that I didn't add the extra nodes that I talked about, 44 to see improvising. Let's add them also. What was it again? It were the notes from the major pentatonic scale and this k, in this case, the G major pentatonic scale. So that's from g. First, second, third, fifth, and sixth. So you can add those notes. Also. Remember that in C we did. So what's that in G? This slide. Here, slide. Okay. So that was a, no, it wasn't important one. Remember that in C, we sometimes even took the major seventh sense, but only as a path passing notes. So you could do that in G also. So degrade your sentences, this one, so you do not e.g. this. Okay? So what I will do one more time, put on the, the play along file and I will play along also with those other notes here. So blue scale plus those notes from the major pentatonic scale. So there we go. Okay, that's the end of the play along MP3 file. So you see, just practice with the play along file and practice first, the blue scale, just up and down, just to get the blue scale in your fingers and g done your practice. You make solos, you make lines with the blue scale. And when you've got that really in your finger, fingers, you're adding all the techniques, techniques that we also saw with C i. So adding those major pentatonic notes and the trills, double stops. So I would say, practice all that and then I see you. The next one. 25. 2.18-Blues in G Left Hand: Okay, so we've done the right-hand in g. Now let's look at the left-hand. So the courts. Now the 14.5 chords that we need, while the one chord is obviously G, that's a G7. Or how does third inversion wheels are used to use it in the sea? Blues, so we know it already. So that's the one chord, the four chord. And let's go to the fourth note in a G major scale, 1234. Let's see C7. Well that one. We also know that because the blues and C, obviously we used the C dominant seventh chord year in second inversion. Of course you can do it in first inversion if you want. What's the five chord? Well, 123, 45k, that's D. So D seventh chord is the five chord. So I think that if I do it here, split is possible with this one, with this sound. So that's the five chord. Now, we didn't only look at our classical dominant seventh chords. We had some, some other courts, rootless voicings and also without two-fifths. So let's look at that. Well, actually for g and for C, we already know them. But let me quickly go over to mess. So the classic one, we mostly use this one, a third inversion because it was not too low if you go here. Actually, it's also possible to use this one. Depends a bit on the sound you have on your on your keyboard, if it sounds well or not. So this one is okay. We used mostly in version. So what did we have more? We had the G9. So that was a, remember, G ninth chords. Obviously, it's very much in the way of our right-hand, unless we play higher up. I said before, just use third and seventh, major third and minor seventh you once. That's enough. We had a G 13th. I remember this one. I do it quickly because we saw them all already in the sea. Blues here. C major blues. So that's about g. Oh yeah, seven sharp nine. Also quite far to the right. Because if you do it here, it is far too low. If you want to use that, courts have to take it here. Well, again, depends on your sound. Perhaps you're a piece of piano sound. Here, it doesn't. Perhaps your piano sound that you choose is okay there. Let your ears, the guides, your guide. So that was G. Let's have a look at C. So we saw already classical seventh chords with the root, the fifth, the ninth. We know which from the sea blows. The 13th. We also already know it's, that's all we did. Dan did D chords. The D chord. So we have, It's possible, not too low, but you could put, eventually leave out the fifth. So we still have the classical D chord. The minor, major, minor, major third, minor seventh. And of course in this case also the root fits perfectly well. The ninth. Well, you take major third, minor seventh, and ninth. Well it's always a whole tone above the root. If the root, the root is the E, this would be your D9, D 13. Well, the third genes. Well, let me just go up to the major scale. So let's remember the 13th is always the same as the sixth. So that's 123456. Hey, that's the B. The B is our sixth or 13th. So, yeah, when you take here Major third, minor seventh, when you take here 13th, It's possible mountain, I prefer when it's more open sound. But when you do it here, yeah, you can't do it. Even impossible for my hands. And as I said before, I have big heads. You have to inverse again the third and the seventh. Take your seven year, your microcephaly, your major third year. And you have your 13th here and just see if it sounds well here. No, No, I find it too low for this sound that perhaps your sound, your piano sound is okay. But again, does this quite far up. So you have to play in the higher regions with your, with your right hand. Remember that four to five chord. We also due dates, the flat 13th. Remember with the GI, when we played in the key of C, that G was our five chord, and we have this one as a flat 13th. Well, if D3 is this one, and this is the 13th of your flat, 13th is here. Again. It's quite high. So probably we won't use too much the 13th and genes unless we're playing higher up. So now I did this very quickly. Those chord shapes for all those ninth and the 13th courts. Perhaps it's too quick for you, but the advantage of video is, of course, you can go back and look at it again now. So if you don't remember everything I said, just go back in the video and see what I do that, pause the video and try it all out. Now what is very important for us is, of course, the blues progression. I didn't even show it to you. Now you can find the, the G chord. G blues had the chord progression in G, in G major. You can find it in the resources of this lecture. But let me just quickly go over it. So again, your one chord is G, your four chord is C, and your five chord is D. So we have four times g. Let me take G3P and we're now for measures of g. Then you have two measures of c. Let me take a C voicing C7 forcing that's close, that's the C9 to see. And then again to G den, we have one measure of D7. Let me take this one. Did the seventh because it's very close to each other. One measure of C7. And again, two measures of GSM. Four times g. Two times c. Two times G. One time. One time two times g. Okay. And again, if you don't remember, go to the Resources, download the PDF file with the blues progression and g. Eventually printing it out. You can put it before you on the piano. But it's of course, important to familiarize yourself with those courts and G. So let's just play the left-hand together with the play along file. Perhaps it's good to just start. Well, you could start, of course, with the classical courts. And then you could do for D. So that's a G in third inversion. What did I do? Foresee? First inversion and D in root position. So if you want to try for debt, after that, you can try e.g. the ninth. So you do for G, that's the tie up, but okay, if you want to practice that said together with the play low file, you take this for g, this for C. You can take for D. This one. Will do that also with play along track. And what you could also do is just use the courts that I just showed you that are close to each other. So C9 and D9, e.g. let me illustrate this last one to you together with the play along track. So there we go. 234. Okay. Just one round for now. Okay, So you tried it also just to get a feeling for this blues in G. So I see you in the next lecture. 26. 2.19-Blues in G Hands together: So now that you know how to use the right hand, which nodes to use records in your left hand? Well, yeah, of course it's timed to bring both hands together. So what we're going to do, well, we're going to solo in a right hand. We're going to use everything we know. Notes of the blue scale, notes of the major pentatonic scale. In G. The trills, the double stops, the slides, everything we know. Sorry. And in our left hand, we're going to use the courts and we going to adds the rhythm. Of course. The court said, We didn't do that yet. When we practiced in the last lecture, the structure of the blues in G. But now of course we're going to add a little bit of rhythm. So be well-prepared. Be sure that you that you have it everything in your fingers, head, your right hand, the left hand. You can easily now apply all that. Said. Let me just put on the play along file and let's just try something. There we go. So just try it out yourself also. And well, I would say lots of fun. And I see you in the next lecture. 27. 2.20-Blues in D Left Hand: Alright, so now you know how to improvise and C and G. So let's look at another key. And I thought that I would do a blues in D. So let's look at the one, the four and the five chords in the key of D. Well, obviously the one chord is then DHEA. It's perhaps nice to leave the fifth out to have a more open sound. If we take the neoclassical cord, the classical board without fifth then, but with the roots, the forecourt. Well, let's go up in a D major scale, 1234. Hey, that's G. That's when we know. So this is the classical cord and its third inversion, G7 and third inversion, which speak later above, about ninths and 13th and all that stuff. So the five chord, so 12345, hey, that's a, that's one that we haven't seen yet. Okay, so what can we do? Well, yeah, DDD, a dominant seventh chord is a, C-sharp, E and G Major third. Minor seventh. Eventually take it in third inversion. Anyway, are 14.5. Courts are done. D, seven, G7 and A7. So a good one to do now is to practice the blues progression with those courts. So quickly. How is the blues progression? By the way, as always, you can download it in the resources. There's a PDF file with the blues progression in D. So when the one chord is D to fork or G and the five chord to a. Then we have sort of blues progression is then for measures of d, two measures of g. Two measures of D, one measure of a, one measure of G. And to end its two measures of D. But again, if you can't remember it, go to the resources, find a PDF file, eventually printed out and put it in front of you so that you have it before your eyes. Okay, so what did I say? Yeah, you should practice with that blues, blues progression. I should say that you get it in your fingers. You get familiarized with this blues progression in D. So for now, I would just play the classic, classical courts so you can play the open sound without defied well, but if you want a fifth in it, why not? And you can do as you want. You played D7. One courts the G7. For cords as the A7 as the five chord. You could take those inversions. If you feel better with only root position, then you take only root position. Up to you. Important is here that you get familiar with the with the blues progression in D. So you can stop the video and do that now, before you go on. Not when, once you're familiar with this booze prohibition D, you can do, of course, you can do all kinds of inversions if you want to practice as well. But we can now look at the 9th and to 13 scores. So let's have a look there. So we start with D, and let's look at the d.school night. Well, actually we noted the ninth, already, saw it in the last lecture. Major third, minor seventh. Ninth. We owe, we had a D7 sharp nine. This one. When this is denying, this is the sharp nine, also use that one. I think I forgot to mention that one in GBrowse, but anyway, you can, you can add that D7 sharp nine. What did we have more to D3? So to 13, whether it be how we use this voicing for D3. Again, it's quite in the middle region where you have little conflict with your right hand. But if you play higher up or why not? So let's look at the four chord, which is the G. Well, actually we know it also, also already yeah, 13, but we would start with in China. So G9, we know it. This one. If you want to eventually G7 sharp knife, it's this one. And the G3, I just showed it to you, but you already know it because of the, the improvisation, improvisation in C and then G. So we're left with an a. So what can we do with a? Let's first look at the A9. So what did we do? We use the major, third, minor seventh. There it is. I always want to hold zone below the root. And the ninth, which is one whole so above the root. So this is a nine. You see that it's quite high. Guide. You have conflicts with your right hand. Unless you play up. Depending on your sound. It could try here. Possible. But if for you the sound is too low. What you could also do as a, as an ape Nine sound is this. So what do I have here? I have minor seventh because the road is here. So one whole tone below the root is the minor seventh. Above the root is my ninth now. So what do we still miss? We have minor seventh and ninth. We miss the major third. So that's this one. And actually this would be already a knife. You could use this. Why not? But yeah, it's nicer in this case. Well, that's my opinion. I don't know what you think. To add the fifth. Listen to the difference. This is without fifth. Is with fifth. You hear a difference. I find this nicer. This is an example of a rootless voicing where you use the fifth. Most of the rootless voicings we use where without two-fifths, well, this is one width the fifth. So as a A9, you could use this instead of this one. Why not? Then? What have we more? Oh yeah, the 13th. So what's the 13th in the key of a? And remember again, at a 13th is the same note as the sixth. So let's go up D, the a major scale till we reach the 61234568. That's F sharp. So, well, we could do this, e.g. could do this e.g. a. Minor seventh, major third. That's the 13th, is a nice voicing for a 13th. Which again is just a seventh of course. But with an added the 13th. Yeah, you could even eventually add the ninth also, which is the b. Since it's not so low, you can add more nodes. But if you really want to keep it in, open out, that news just those three nodes. And one last one. This is the five chord and in D5 quarter we used also the flat 13th, and this is the third teens that this is the flat 13th. A7 flat 13 is Dischord. Okay. So we have a whole lot of courts. Now. I will actually only a courts. The courts with a as a bruit there are new for you. So yeah, we can apart from what we practiced before, which you practice because I didn't show you, because it's very, very obvious, very simple how to do it. The classical courts, we can practice with some other chords. So e.g. you could do this. Take a d nine, and then you could do g 13. I did very close. And then you could do a nine voicing with the fifth that we get I just explained. So let's try that one. Just to get familiar with the blues. The blues progressions are either blues progression in D. So let me put on the blues progression and lets us try that. Okay, One round enough. Okay, so that's it for now. You just practice that so that you get familiar with the progression in D. And I see you in the next lecture. 28. 2.21-Blues Scale in D: Okay. The right-hand In d, what to do with the right-hand? Well, you know what, the blue scale and the extra notes from the major pentatonic scale. So let's start with the blue scale. So remember, blue scale is root, which is now D minor thirds, or let me call it rather sharp nine. Sharp 45 minor seventh. And you can eventually end with the high D. Okay. Hi, So for the fingers he could do this. 341. And when you add, you can use finger three. If you don't add, you use finger to one, sorry. Thump. You do the same thing. Okay. Quickly. But you can always go back into video to see which fingers I use. And perhaps you like to use other finger positions. But I think this dose dose should be good for, at least for my fingers. I think for everyone. Okay, So that's the blue scale, the deep blue scale. So perhaps the best is to first try to practice with the blue scale. So go up and down. You can use, of course, the file into resources had to play along file again, you have it in three speeds. 8,095.110 beats per minute, as always, go up and down just to get familiar with the blue scale. After that, you can make yeah, somebody lines there. Sorry, I use this one though. That's for later in our slides. Trills with a slide e.g. or the double steps. What did we have more? Well, that's about it. Okay, So try that also tried to make some little lines. With it. You can use the player long file to make nice musical lines together with the blues. I will not show it for now because it's always the same thing. So let me just add, now denotes the five notes of the major pentatonic scale. So remember, it's the 12356 of the major scale, in this case a major scale of D and the D major scale. So 12356 dose, dose, F sharp, a and B. So you can now create lines that e.g. remember that we did this in C and G. So what's that indeed? Well, yeah, That's forgot to say that in this case you cannot slide up. So you should do either a quick movement with your two fingers or you can just do it slower. It's also nice. Now I used the major seventh. Remember that we did this with C and F. We can also do it with only as passing this major third, because major seventh, I'm not major third of cork major seventh. Because you should use the minor seventh because it's a dominant chord that we use here at D7. But as it passing note, no problem. Again. So in this case, this sliding is not possible. Due It's quick, but you can also do it. Then it's swung eighth notes, e.g. so you also tried it out with the with the play along track. Let me just show you a better, let me try to solo a little bit with all that we have. So with the blue scale and with those with the pentatonic major pentatonic scale notes. And with sometimes that's passing note, the major seventh. Now let me put it on. Hi. Okay, to see and track. So try that yourself. Make some nice melodic lines. And in the next lecture, we're trying to bring both hands together. 29. 2.22-Blues in D Hands together: Okay, let's bring both hands together and play the blues and D. So we tried to do everything. We learned all the techniques. Left-hand. Add a little bit of rhythm. Use all kinds of courts. Right-hand use here. Blue scale, you use the major pentatonic scale, slides, drills, double stops, and everything. And I'm okay when it's wet, this is all a little bit too much for you. You can, of course, also simply start with only three simple types of left hand. Accompany meant courts. So d, g, and Disney, they're close to each other. So use them only those three and create simple lines, e.g. first only with the blue scale, and a later at some other stuff, like some slides. At some drills, some double stops after that, after some extra nodes than try to use. Also, other courts had an, those three that I just choked. Slightly build it up if it's too difficult to do all this stuff at once. Let me put down the play along file and let's just try. Okay. Okay. I did a little thing also in the ending. Why not? Yeah, I tried it yourself. And as I said, if it's too difficult to apply all those things at once, build it up slowly. Have lots of fun. And in the next lecture, we're going to do even another tonality. 30. 2.23-Blues in Eb Left Hand: So I wanted to do it more difficult key now, and with the route on a black note, I wanted to do E-flat. That's what Blues in E-flat, improvising in the E-flat blue scale, and adding the notes from the major pentatonic, E flat major pentatonic scale, etc. Now, the question you might ask is, well, is this not too difficult for me? Yeah, perhaps, perhaps it is. Perhaps it's not. The question is also shoot, I do this. Should I follow? The lecture is about the E-flat blues. Well, yeah, it depends. If you're just not so advanced player and just want to learn to start to learn to improvise. I would say no. Also it's sold at mostly. You will not play on those difficult keys. So if you play with other people in a band or whatever, they will vary, probably not play in difficult keys, so in E-flat or other, starting on other black notes. Well, sometimes they will, of course, but I think that mostly they will start on a wide is key, especially the first six notes seen from C. So C, D, E, F, G, and a dose or yeah, the most played keys, even B is already a bit less than. So. If you just focus on dose keys, It's probably enough. But if you're more advanced and you're playing with a band who wants to play in a, let's say difficult Qi. Well, yeah, of course, then your shoot. Concentrate on being able to do that also. So in that case, follow those lectures. Why do I do this lecture if it's not so very often? Well, for reasons of completeness and also because I want, for DOS, who wants to play a more difficult case? I want to show how you can do that also. So E-flat. What's our 214.5 chords in the key of E flat? Well, the one court, obviously E-flat. So what is E-flat seven. So that's root. Third major, third minor seven. What's the forecourt? Well, we go up the E-flat major scale, so 34, hey, it's A-Flat. So A-Flat is our four chord. So in a flat, seventh chord is what we're going to play in the blues. So you have a flat seventh chords. I wrote. Third major, third minor seventh. So that's the four chord. What's the five chord? Well, that's, again, go up the E-flat major scale, 345. Hey, that's B-flat. B-flat is our five chord. B flat seventh. That's this major third, minor seven. Okay. So you should practice with those courts into blues progression. Now, first of all, how does the blues progression look like in E-flat? Well, it's always the same. If you're one chord is E-flat, your four chord is a flats and your five chord is B flat. Well, then you have four measures of the one chord, which is E flat, to measures of the four chord, which is a flat. Two measures of the one chord, which is E-flat. One measure of the five chord, which is B flat, one measure of the forecourt, which has a flat end to end to have two measures of the one chord, which is E-flat. Perhaps it goes a bit, a little bit too quick for you, but you can download in the resources of this lecture in a PDF file, the blues progression in E-flat. Yeah, So you can, you can download it, print it out, put it in front of you so you have it's before your eyes so that you can look at it so to speak. You know what the E-flat, sorry to beat the E-flat blues is? Now, to get it in your fingers to get familiar with it. It's good to practice with the play along trick. You could, of course do the root positions. But if you find it easier to have positions that are close to each other, what you could do is the E-flat just in root position, and then the A-flat. The second inversion. Leaflet, leaflet seventh, second inversion. Those are close to each other. Okay, let me put on the band and just play those inversions. You can, if you want to start with the root positions, of course, if you find that easier. You can also directly do those cores if you want those, those inversions. Main thing is that you get familiar with the E-flat blue. So let me put on the play along track. A Fnet, back to E-flat. E-flat, A-flat, D-flat to measure. Okay, this is the whole round, then you put it off. This is whole round. You can do your three rounds if you want. Now, of course, we don't play just the classical course at the courts. Those word, I call it the classical courts as soda with the 1357, with the root and the fifth. What about the rootless voicings? So it starts with the E-flat, and I will first show you E-flat nine. So this is E-flat nine. So what do we have here? This is the third minor seventh, always one whole tone below the root, and one hotel above the root. We have tonight. This is E-flat nine. The 13th. What's that? E flat 13th. So what do we have? We start with the flat seven tone below the root, the third, and this is the 13th. Oh, can you see that it's the 13th? Well, remember, thirteenths is the same as the sixth. 1234566. Note in the scale of E flat is C. So this is a flat 13. Oh yeah, by the way, when we have E-flat nine, we can also easily make E-flat seven sharp nine. I just raised a knife with a half down to a sharp nine. This is E-flat. Seven sharp nine. Oh, okay. Yeah, that's a bit about E-flat. Let's go to A-Flat, so we can make a flat nine here. So this is the third in the key of a flat. Seventh. Note below the root. Alton above the road is my ninth. So this is a flat nine. Let me directly to a flat seven sharp line because I don't have to raise this one by a semitone to the sharp nine. So this is a flat seven sharp knife. A flat 13. Here we have seven because the root is here and it's a whole tone below the root. The third and a flat is the C. And the 13th. Yeah. So how can you see that? Again? The 13th is the sixth one. The sixth in the a major scale is the f. So this is a flat, 13th. So that's a flat. Let's have a look at B-flat. Let's start ticket here. Little bit low. Let me take it here. Eventually played here, but let me play it here. This third seen from B flat flat 7, v or below the roots. When Holton, above the root, I have to see, which is my ninth. This is B flat nine. Yeah, I don't easily we can do sharp nine also had just raised this one, but you have to be sharp minor. B-flat seven, sharp nine. Let's look at B flat 13th. That's this one, because this is my flat seventh. Oh, Tommy load root. The third major thirds into key of B-flat, D. And this is the 13th. Again, you can see that 13th is six to go up into the B flat major scale, 123456. So the 13th, 13th. And since B flat is the five chord, we've seen before that sometimes we can eventually in the five chord, play also the flat 13th. So justice flatten this one semitone to the flip 13th. And here we have B flat seven, flat 13. Know, those are so many courts all in once. So it might seem a little bit overwhelming now, I can imagine that. Of course, if you don't remember them, which I can completely understand because it's very much information all at once. You can always go back into video. You can, you can eventually put it on a paper which notes are in practice with it? At least you know, what today are those chords that so go back into video, stop the video at each cords, make a notation on a paper, and practice with them. Okay, let's let's practice those courts just in the in the play along track. So you can make some variations. But if you want to keep it simple, in first instance, you could do e.g. only ninth chords are only 13 skirts. Or make a combination of courts that are near to each other, e.g. B-flat, E-flat, A-flat. Take the a flat 13th, you only have to move those two nodes via a halftone. See this one halftone down and this 1.5 tone down. A flat 13th, very easy. And then you can use B-flat 13th, just everything. A halt on, up. Here. We have everything very near to each other. E-flat, A-flat, B-flat. And it's also a great way to start to, to, to, to practice with the play along phi. Let me, let me show you quickly this just one round. There we go. Okay. Route starts. Let me stop it. So breakfast that to get a feeling for it is E-flat blue scale to get familiar with it. As I said, I don't, I don't show you all the exercises you can yourself try out our inversions. Try. Instead of starting with the ninth chords in E-flat, start with the 13th. Dad, you can take e.g. a. Flat nine and B-flat nine. Take everything, a whole tone. Those are three that are close to each other. A-flat. A-flat. B-flat. Okay. Okay. You practice as well, and then I see you in the next one. 31. 2.24-Blues Scale in Eb: So what to do in the right hand and E-flat? Let's first have a look at the, at the E-flat blues scale. So we started on E-flat minor third or sharp nine. Remember the third major third is the G. So your minor third is here. Four. Here, sharp 45. So we have minor seventh here. I've tried to familiarize yourself with this boost gap. By the way, the pentatonic minor pentatonic scale, E-flat is very simple. Look. It's only the black keys. So when you look at the black keys on your keyboard, the hero, just the minor E-flat, minor pentatonic scale with, it's as easy as that. So if you wanted to improvise in E-flat minor pentatonic, just, just use your black keys. It's as simple as that. And the only extra notes that you add to get out of the minor pentatonic scale. The blue scale is just add this word, which, which is the sharp four. So yeah, you can try to create some lines. That was not a very special line because I just went down the scale. Sorry, not this one. That's nothing. The blue scale, we come later to that node. E.g. you can make your tools e.g. now, in this case, you have to slide up and slide up. You cannot slide up of course, but you can use e.g. you're a thump on the a and dad do this as a sort of slides very quickly from the with your thumb and your index finger. When I do it very slowly, it is. But if you do it quickly, alright, this one, your trill, or you're a double stops. You can make as many as you want it. And then later, we can also add the notes of the major pentatonic scale, which are in the scale of E flat. 356. Those notes, E-flat, F, G, a, B-Flat, C. If we add those notes. We can also do this. E.g. I. Remember that in C it was like this. Remember E-flat, The same thing. Transpose to E-flat would be if you want to do it with this one. Sorry. Once again, I remember this major seventh that we could put in as a passing note. Only as it passing note because we are, of course in a dominant chord here. And the major seventh normally doesn't belong in a dominant chord. So you know, but as it passing note, we did it earlier in C. I remember we did this in C. So now in, in, in E-flat, we can do this. Okay, so try a little bit all those things out, create some lines, and then try to play with play along file. So let me try that now for you. By the end of the, play along fine. So try some simple lines or if it's difficult, practice first, only with the blue scale and nothing more. Or even with all these pentatonic scale head, those are only the black keys, or the black keys is just E flat minor pentatonic scale, very easy. And you just add this note to make it to the blue scale. So try that first out and later you can add the other notes and adds those slides here. Well, this is a bit strange world because you cannot slide down. You have to slide up, but it doesn't exist. So I try all that stuff. Wow. Slightly add more things. Had a double stops at trails, etc. Okay, breakfast. Well, and in the next lecture, we're going to bring both hands together. 32. 2.25-Blues in Eb Hands together: Okay, it's time to bring both hands together. Everything we learned in the last two lectures, left hand, right hand, are going to combine them. And we're going to play both hands together. Now this is not so easy of course, because it's quite difficult key to improvising. But yeah, if you did well the last two lectures, if you really practice well, first the left hand, all the combinations and the right hand, you're quite, quite prepared to go out and to bring both hands together. Now, of course, in the beginning where we were difficult, but I propose that you first yeah, just do simple. You could even just start always on the one and just use those courts, e.g. so for E-flat, A-flat, D-flat, all sort of theory, just e.g. only those three courts that started all of us on the wind and improvising, then it's not too difficult. Later. When you have that in your hands. When you master that, and you can also add other chords. So e.g. for the A-Flat, you use this one for it to be flipped. This one sometimes add sharp ninth, well, etc. And then you're going to add some rhythm in the left-hand. Well, you know how it works. So anyway, let me just try something just to show. Of course, you make your own lines. You invent your own left-hand accompaniment. Anyway, let's try. That's the end of the play alone file. Yeah. You will probably do some more simple stuff that you would do in C or in G. That's no problem, of course, make sure it aligns and you'll get used to it. Eventually. Tried it out. Slightly build it up. If you want, you can first, as I said, do simple chord start on the one of each new measure. First, try only e.g. to the blue scale later at some other stuff. Now, build it up slowly. Okay, So we don't know how to play in four different tonalities. What about all the other tonalities? Well, I will speak about debt in the next lecture. So see you in the next one. 33. 2.26-Improvising in other keys: So as I said in the last lecture, you've been improvising in four different keys. So we started with seed and G and D, And then we took E-flat. Now of course we have 12 different nodes. So we can make 12th different blues progressions that we can transpose or boost progression and so are improvising in our courts everything to 12 different keys to talk, 12 different tonalities. So after afford that, we've done There's till eight lift. But the question is, of course, do you have to do them all? Ate? Well? I think that very few people will probably do it because I think I said it before. If you know how to play e.g. in the white keys, even the first six white keys. So C, D, E, F, G, and a, those are six white keys. So if you do the blues in C and D, E, F, and G and an a, I think you've probably enough to play, well, 90% of what most people play. So if you're playing in a band or playing with other people or whatever, with those six keys, you can play 90% of the stuff. So you don't really need to know to do it, to do it in all 12 keys. But if you want or if you play with other people that want to play in, let me say in B-flat or an F sharp. Well, you can, of course, takes a bit of practice, but when you put in that practice, you'll definitely be able to do it. Now of course, it's going a bit too far to show you for every 12 keys, how to improvise him that keys in those keys. So I will not do it in this, in this course. You can do it yourself with the aid of what you have learned until now. Anyway, you will find in the resources of this lecture, the blues progression in all the 12th keys. Besides that, you will also find in the resources of this lecture, the blues scales, while the major pentatonic scales notes, because we have them already in the beginning of this course. In the, one of the first lessons, I can't remember exactly which lesson, but there you have already the major pentatonic scale, so only two blues scales. You will find them in the resources of this lecture. And what you will also find in the resources of this lecture are the courts to 14.5 courts for every blues. So you can just lookup e.g. I want my, I don't know. F sharp ninth court or F? F sharp seven sharp nine chord. You look it up in the resources so you can find all those courts there. So yeah, that's it. Oh yeah. One thing. Of course, you will find in the resources also the backing tracks to play along files, the MP3 files. For the blues in every tonality and for every tonality in three speeds. 80 beats per minute, 95 beats per minute, and 110 beats per minute so that it makes in total 36 file. So 12th and LLCs times three speeds. Okay. So we have if you want enough to practice with, but as I said, start with the easy ones. You've done, C, G, and D as easy ones, do then a and B. And then you have this six white keys. And I think you will have more than enough to play. As I said, 90% of everything which you could play with other people. Okay, lots of success. I see you in the next lecture. 34. 3.1-Rock Improvisation The Basics: Hi and welcome back. And we're going to do some rock. So no more blues, rock music. So what's the difference in improvising between rock music and blues music? Well, for large parts, It's a lot of the same because the blue scale and the pentatonic minor pentatonic scale art and even two major pentatonic scale are not used in rock music. And I would say that that's a rock solos rely heavily on those pentatonic and blues scales. So what we've learned in the blue section, we will apply it also to the music. So if you just came in here and didn't do any of the blue section, I recommend that you do first the blues improvisation. And actually it's enough to look only on the right hand improvisation. So do both hands together. You don't need it for Florida Rock improvisation, more on that later. So older, the right-hand lessons, improvisation techniques. You should do that first. That'd be four going on here with the rock improvisation. Now, one important thing that's really different in Brock than in blues. You don't play with swing fuel. You don't play with triplet feel. You play straight, straight eighth notes. So not that data but dot, dot, dot. This is very important. So of course, it was important that you passed first through the blues, has audio through this swing for you so that you know how to blues scale and everything works and how you can improvise. But swing few is used a lot in blues and jazz, but in rock and also in funk music. No, it's straight, just straight notes. This is important to know. Okay, Now, as I said, the blue scale and dependent tonic scale, or are used a lot in rock music. So what would you actually choose? What you choose, choose rotted and minor pentatonic or rather the blue scale. There's only one note difference that, but which one would you choose? Well, if you choose the blue scale, you will definitely end up with a more bluesy sound than when you use just a pentatonic scale. Now, does that matter? No, in a lot of cases, not a lot of rock music. You can very well use the blue scale. But in some rock music, it might sound a little bit to bluesy head. Is this bluesy agitate you have? Might, for some songs, be a little bit too much. I would say, let your ear be your guides on whether to use the pentatonic, minor pentatonic scale or even two major pentatonic scale. We come back on that later, or two blues scale. Now, I have a chord progression that we will use here for this erupt lessons. And dare, the blue scale fits very well. So I will use the blue scale for now and I, but again, let your ears by b or your guide and try it out. If you have another song, I try out the blue scale, dependent tonic scale, and see if the blue scale fits or not. If not, then use the pentatonic scale, the minor pentatonic. So what were the major pentatonic scale? So the chord progression that I'm going to use, one measure of C minor, one measure of E-flat, one measure of B-flat, and one measure of a flat. Now, this is in the key of C minor. So what shout, when we did a blues lessons, we were in C major. And so that's why you could use the E also. In this case, we will not use the e because we're in C minor. So that's very important to realize. Another thing. I said, chord progression is C minor, E-flat, B-flat, A-flat. I didn't say C minor seven. E flat seventh, B-flat seven is a flat seventh are very often in rock you see much more. Just try it's done. Seventh chords. Always, of course, you will see seventh chords, but it's a lot less than in blues or jazz. So that's why you see here two chord progression without any 7th. Okay, enough talking. Let's, let's start. I choose here for an Iraq, Oregon sound. As you can here. Well, let, let, let me just play a little bit. What we, what we will do is first just experiment a little bit with this chord progression and play some little solo over it. If it's good, you know how to play the blues scale. You know your tricks from the blues lessons. So I don't have to explain all that. That's all we're going to use. The sea blues scale. Okay, so be sure that you know how to play the C blues scale. Okay, so what I'm going to do is put on the play along track and just do some very simple solo work on this with this see blues scale. There we go. Okay, So here, that's it. So try the same. Try to just solo a little bit. No, no, no difficult things. Just single notes. Try to explore a bit how that sounds over this chord progression just to get used to it. Now, very important is that, you know that with the blues improvisation, we use also the notes of the major pentatonic scale in those 12345 notes, C, D, E, G, E, we don't use them here. Again, this piece is in C minor. All those courts in this chord progression come from the C minor tonality. So in C minor you will definitely not play an E. Also will very often not sound well. Look, you have an A-flat chord here in the chord progression, so D Eventually, yes, you could play the D had a ninth in the key of C. But for now, let's just concentrate the blues scale and nothing more, just single notes. Just tried it out. And I'll see you in the next lecture. 35. 3.2-Adding double stops and trills: Okay, so we're adding some more embellishments. And before we did a very simple solo with just single notes. But before we do so, I wanted to talk about this. I didn't say it in the last lecture, but you've seen two things. First thing is that I play quiet high, high up. First when we did the blues, I was much more in this region now a much higher. Why is that? Well, in rock? Very often, those guitarists, guitarists very present in rock of course, very loud very often and very often are in the middle region of the frequencies. So if you're going to play, they're also competing with a guitar player and you know what, a guitar players and they play very loud. Even if you ask them to turn the volume a little bit down. Very often rock guitarists don't even know what it mean. So so you need another way to show your presence to be able to hear you. If you're playing here in the same region as a guitar to people won't even hear you. That's why I'm playing higher up, higher frequencies. That's one thing. The second thing I wanted to say is we're not going to use the left-hand actually, or very little. Why? Well, imagine you're doing courts here. Well, first of all, let me do some court doesn't sound very well on it, so it's a bit too much. Also, very often a guitar player will do courts. And you hear that with the play along track where there is no guitar and drums and bass. When you just play your solo over to jumps and base, it's very often already enough. You don't need always courts. But as I said that to guitar player will often do courts. So we're not even going to use the left-hand. Okay? So what we're going to do in this lesson, we're going to add some embellishments. As I said, the first thing we're going to do is add those double stub. Say again, if you forgot, forgot about the double steps. Go back to the blues lesson. Have very simply said it's just playing more than one note at a time. Those are double stumps. Could even play. Three knows why. I didn't do this. Because then I'm playing the a yes. So let's try it. It will just put on the play along track and let's try to play also with some double steps. Okay, So here. So tried it out. You see, you can make your Soto much richer when you apply this double stops. You saw also that I also kept one tone ringing. Well, I didn't my solo with my other fingers. That's also technique with this rock Oregon. That creates a very nice sounds. So try that out also. Also, yeah, what I wanted to say, it's nice when you hold one note to play some chords. Let me take a higher C. Now, it's nice to play those courts. Let's see. It's very difficult because it's, you have to stretch your hand a lot. What you could do since you're not using your left hand. Just take the highest see with your left hand and then why not? Let me hear how that sounds when I put the play along track on. Okay. Well, I hold it on very long. Perhaps you shouldn't do it that long. But you see what a nice effect it creates when you hold it with your left hand. Then you have your right hand free to do some soloing over this. See that this constantly played a very nice effect. Okay? What other things can we do? The trills. Be sure that it doesn't sound like single notes. You'll hardly lift your fingers up here, so you very slowly. So I let it ring the whole time. Let me try that a little bit. So bringing all those trails, double stops, trills, and you see that your solo sounds much richer than when you only do single nodes. So try that out also, that the play along track is almost 5 min long so you can freely, solo, try a lot of things. I would say, lots of fun with the play along track. And I see you in the next lecture. 36. Adding 16th note triplets: Okay, We've come already quite a long way with our Soto, but we can add even more. What we're going to do is add triplets, 16th triplets. So they're not, the triplets here used, used to. Normally, you know that when the beat is like this, 1234, when you add triplets, it would be triple, let, triple let 123123. So three nodes every beat. Now, this sounds very much already bluesy, because in a blues we had this swing feel. Here. We don't have swing fewer in his rocker June, no, Springfield, just a straight eighth notes. But we're not going to do a normal triplets. We're going to do sixteenths triplets, edit the normal triplet, eighth notes and triplets, where you have 123123. What we're going to do is triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet. So you have six notes in a beat. I can't even say it that quick. 12 345-612-3456, 56c. Difficult to say. Triplets. So wearing do it quicker. Triplet, triplet, triplet, triplet, triplet, triplet, triplet, triplet. What we're going to do, e.g. is sorry. Or you can also go down. So what, what, what am I doing here? Actually, I'm just going up the blues scale that I go to. It's actually not even the blue scale. It's the minor pentatonic scale. Because I don't use this note. C, E-flat, F E flat, F G, F, G, E flat, G, B flat, C, D flat, C, E flat. And then we continue the same thing. We'll put on the play along track and let's see how it sounds. Well, it sits around. You saw, I went one time up and onetime done with my 16th note triplets. Can you do only, can you only go up or oligo don't know, of course thought you can do whatever you want. E.g. this let me try that. Okay. So you saw me using from time to time, some 16th note triplets. So you can just add just a little part b, the whole time. Can be just very short, doesn't matter. So try to put that also in your solo. Okay, try that. And I see you in the next lecture. 37. Adding the glissando: Okay, So I started this lesson with a little solo. What you hurt? What I did work Gleason dose. So what are glissandos? Well, you saw me doing it. This is a glissando. So just take your hands here and you go up. Now, it's nice when your glissando starts on the end of the glissando when it starts, e.g. on beat one on a certain note. So when you want to start at least some that you could start e.g. on counted three and then be ready On the count of 31234. Sorry. So you start with count four of the former beat and then start on beat one of the next beat with your, with your notes that you're aiming. 12341 e.g. be aware, don't leave a gap, but it can do this. No, it should be one flow. You don't leave a gap there. So 123. So that's when you come in with a glissando. You can also do a glissando down if when you end a part of the solo, or it can even be in the middle of a solo. So e.g. then you can continue your solo. You can also go in and out, or I should say Out and in the other way round. That's all you're, you're soloing. Sorry. You go and you go back into your solo edit. Those are very nice effects. No one warning. Watch out. You can hurt yourself with those glia cell knows. What I advise you to do is just to try what is best for us. Some people do it with the project. But since you're solely soloing with your right hand, It's good to have your right hand ready. After a glissando. That's why I prefer to do the glistening with my left hand. Lift the gap her. Yeah, What I do is this. I put two fingers, three fingers. Four is a bit much perhaps. But watch out. You can hurt yourself. Don't don't leave blood on your keyboard. So try to find out what for you is the best. You don't hurt yourself and that you don't damage your keyboard, of course, has tried it out several times up those glissandos. And oh, yeah, what I wanted to say also, that e.g. if you're playing with this high C and you're doing this, I told you before that you shouldn't do it with one hand. You should use your left hand. And when you want to hold this high C, Now when you're going there with a glissando to this high, see. What you could do is have your left hand Ready, e.g. sorry. But you can also do the glissando with your left hand. Take the high note with your right hand and later take it over from your funeral, your right-hand. Let me just show you. Then you start to do your solo work with a writer. Don't leave a gap. I think you do this. Take it off. You may not leave a gap. Of course. You see that in this way, I have a used from her left hand, even if I'm not playing chords. I have a use for my left hand with the glissandos with this note. Let me just play a little bit and use a bit of everything what we've been speaking about. There we go. Sorry. Well, that's it. They're up. Okay. I made a little mistake there. No problem. Hi. So I I sometimes came in with a glissando. I just sometimes went out of my solo, started again, or I went out, came back in with a glissando, out within Christendom in with a glissando. My solo. What you saw me doing also was this. This is another way of using your, your, your, your left end just to make some rhythmic, rhythmic effect is it puts e.g. on the sea. You don't have to do it on to C, e.g. so you can use your left hand sometimes, in this case to add some rhythmic effects. Okay? So that's, it's a little bit about using all those techniques. So what have we done? We used the blue scale than we added double stops. We added trills, we added 16th triplets. I didn't show it now in this last solo, but of course you know how it works now has since last lesson, we added the glissando. So you have a lot of things to work on, try to, to, to, to implement all those little tricks. And yeah, that's the way how you can use the blue scale in rock solos. So have fun and practice a lot. And again, have lots of fun because that's what it's all about. 38. Soloing with the 1st, 2nd, 3rd and 5th: So till now we've been mainly be using the pentatonic, minor pentatonic and the blue scale in our, all our improvisations. In fact, in the blues, you can overdo 124.5 chord. Always improvise with the blue scale belonging to the one-quarter, so Blues and see about to see seven F7 and the G7. We have seen that we can improvise the whole time over to see blues scale. The same with this chord progression with C minor, E-flat, B-flat, A-flat. We're improvising the whole time. Until now. With the sea blue scale, it fits over all four chords. Why? Well, because those four chords, they belong to C minor tonality. If you don't know how it works, I explain. So in my, in my core is about playing by ear the so-called diatonic chords. All those courts had a C minor, E-flat, B-flat, and E-flat are diatonic chords in the tonality of C minor, which is the same tonality as E flat, because C minor, E-flat, our relative minor and relative major of each other. That's it. That's why we can play the whole time, the same scale. But it could also be interesting perhaps to apply a different scale for each court. So the most simple thing which you could do is just the chord tones, of course. So in C, you just improvise e.g. with a, C, E flat, and G with E-flat, E-flat, E-flat, G, B flat, just the core tones in B flat, that's a, B-Flat, C, D. Those are a flat, C and E. E-flat, sorry. Well, it's interesting when you add one extra note to those courts, and that's the ninth. So in C minor scale of C, you know that the d is the ninth. By the way, the ninth, it's the same. Note for the minor scale is for the major scale in both C major scale and in the old minor scales that exist. So natural minor, harmonic minor, melodic minor, D is always the second-order nine. So the ninth is always the same. So in C, we could add to those three notes, also to D. So we have C, D, E flat, and G notes we could use. So just 1234 nodes. We could solo over. In E-flat. The ninth, always one whole tone above the root, as you know, will be the f. So instead of only the chord tones, E flat, G, B flat at the f, so that, that It's, so that's leaflets have G, B-flat. Same thing for B flats. The ninth is the C one hold zone above the B flat to the root. Chord tones, B flat, D, F. And you add the C, B-flat, C, D, F, B flat chord. You just improvise with those four toes. And then a flat, well, the core tones or a flat, C, E flat, and the ninth, one whole tone above E-flat is the B-flat. So if you use in the A-flat chord, a flat, B flat, C, E-flat. Well done when you're in a flits. Court, just use dose tones. Of course, you have to think a little bit more than when you were using to all the time without thinking just the C minor pentatonic or to see blue scale. But this is a bit, a bit different in that you have to think, what is my next court that so you have to really know the chord progression before. Actually. Didn't matter if you knew the chord progression or not. Well, you should know it'd be cool to know that you're in C minor, of course. But that's all effort. Arrest you improvise the whole time with the same notes. So know that when you're in the C chord, you could e.g. do this exercise. This is not a solo but an exercise. It a secret. In E-flat chord, B-flat chord, a flat. Soda you the whole time. Repeat C minor, B-flat, B-flat, a, floods, etc. You could do that with the play along track, of course, to, to practice, to practice those notes. First, just on every beat. 1, 2 3 4, 1 2 3, 1, 2 3 4, 1, 2, 3, 4. Now let me quickly show you just a little bit. 234. So what you have done that, then you can do a next round twice as fast. Okay? Is it EK plus, there we go, etc. So that's an exercise to do F first coordinates then eighth notes at remembered or not swung eighth notes, no triple, triplet feeling just straight eighth notes. You could do it even with quicker notes. Let me show you, et cetera. So those are good exercises to start getting this a little bit in your fingers and to see where the notes are that you have to play. When you've done that exercise. You could also exercise with other shapes. So now we did 1235. You can also do 2351. That's foresee done for E-flat, That would be for a B-flat, That would be for a flux that would be just for you to recognize the shapes. So they can later can quicker come up with the shape and then improvise overdose notes. Of course you can do it from the, from the third. So for, for C, third, fifth root, for the B flats, that would be sort of third, fifth root. Second-order ninths, for it to be flat. So that would be third, fifth line. Perhaps I shouldn't call it ninth year rather seconds because we take it's between the first and the third. So it's rather a second did in 19 Just case, but it's the same. It doesn't matter. Okay. Last shape for a flat. So that would be That's what its lines or second, I said second, third, fifth root. So you do, you exercise also with this shape. You couldn't do it from the fifth. So that would be, so that's the C chord, by the way, the C minor chord, that fifth roots second, minor third. Then for the E flat, that would be a fifth roots seconds for the, for the B flat. So that would be fifth root, second, third, and fourth. 40 a flat courts, that would be fifth roots, second, third. So the same exercises that you did before with the when you started on the route. You don't start on seconds. Then on the third and fifth, I will not show it to you because it's obvious it you can also do it going down. That's the basic shape where you have your thumb on the first bullet under root. You can do that also with the other shapes. When we know this going down, etc. So those are all exercises to get used to the notes where it can improvise with. So try those exercises. And then we come back in the next lecture and we're going to make some lines with those shapes. 39. Making melodic lines: So when you practice well, in the last lecture with those 1235 notes in every court, when you have it in your fingers and you can try to create some some melodic lines. Yeah, difficult to say which lines? Because you have to come up with your own lines. So let, let me, let me just try something. And of course you can copy my things, but you can also come up with your own things. Let me put on the play along track and let's just try something. Okay, so here I just made some lines. I sometimes use some more than one note at a time. It sounds nice on those three dots. Could use your left hand to make some written rhythm in your solo. So just try some simple things. Now, the problem with this organ sound is, normally with Oregon sounds, That's my sustained pedal doesn't work out. And Oregon, you don't have a sustained pedal. Hassle, e.g. when I press my sustain pedal now, see, nothing happens. It doesn't ring the whole time, so I have to be very careful not to leave strange gaps. Of course you can leave gaps because the whole time playing whole notes without a resting, it's not nice either. You have to make some breaks sometimes, but when in your land you leave some strange gaps. It's not always nicer. So you go to the next court and you have a gap. You have to be sure that you link them together if you want to, if you, if you're on your end of your line, of course, and you making a new line, you can take a breath and not linking the two lines together. If you want to avoid that, there are gaps which you would otherwise not have if you had your pedal. You can, with your left hand to just play e.g. the root nodes. In that case, even if you leave some gaps, the whole thing, the whole thing sounds as one whole. Of course, only if you want this effect, it's not always what you want. You can also leave one note. Of course, this is a bit difficult to leap OneNote solo with the rest of your heads. But in that case, you could leave e.g. always the root. What I did was I first played the C, C minor chord that I played, the B-flat, which is not the root of the leaflets. I left, it's the B-flat to go to the B-flat chord. A flat. Okay, now it sounds a bit strange now because I'm explaining it to save time. But let, let me just show you what I mean with this up, et cetera. In that case. You can make nice lines that are connected together. So that's another technique that you could use. Let me just solo a little bit over it just to show what things you could all do. Sometimes I'm passing notes, a note it is not in the court, but when you go from one chord to the other, you can use passing notes, of course. Okay. I would say breakfast a little bit with this. Create your lines and come up with new stuff. And I see you in the next lecture. 40. Combining everything together: Okay, Now, if you want some more variation, why wouldn't you combine this 1235 technique with the pentatonic and the blue scale. So e.g. you're in your C chord and you're playing your 1235. You could end delaying with some notes from the blues scale than go to the E flat chord. Starts with lumped the three-five. Well, actually those notes are also into independent tonics scale of course. But you can also, you don't have to do in one measure with one court. Both are 1235 and the blue scale, but you can, of course here you can also do the whole measure. Was a C chord. The E flat chord. You start to do the dependent or the pentatonic blues scale. Died in the B-flat. I go up 1235, well it's 5123. And then I go down the blues scale. Alright, so when you combine those two, let me, let me just show something where I combine 1235 with sometimes the pentatonic or the blue scale Bond. Hi, you saw me going back end from 1235 into the blue scale, back to 135, etcetera. Moving between the two. So dry that also tried it out. To start. You can you can either do mainly to want the three-five, three-five with sometimes some blue scale, but you could also do mainly blue scale and sometimes so some 1235. Let me show you that. In this last example, I was mainly doing the blue scale and sometimes I did some 1235 worker. Of course. You have to hold time to be constant in which courts you are dangerous when you're nicely solid doing in your, In your pentatonic or your blue scale. And you want to do 1235 and you forgot which court you are. Yeah. Then you're lost. Of course. We have to keep track the whole time on where you are. Well, normally when you would do to only do 1231235, you have to keep track also, of course, the whole time of the of the court urine. Okay. Well, you've learned nums now some techniques with this 1235 and with the blue scale and how to combine them. Of course, all the things we did in the blue scale. You can also. Try to do them here in this solo here also this a soda, the glissando, the trails. Already a little bit. In this former solo. Double stops. If you combine everything together, well, quite some vocabulary already to solo. So let me end this now. Play you some solo with all the texts, neat techniques that we learned. There we go. 41. How to play in other keys: In section three of this course. So to section where he did rock improvisation, you've been doing only improvisation in C minor. So what about the other keys? Well, you can find any resources of this lecture, the practice file. So the MP3 player long files for this ROC June, the same chord progression but in all the other keys. So you can practice this progression in all 12 keys. Now, again, as I said for the blue section, do you have to practice all the 12th keys? Well, probably not. Most rock musicians will not play in very difficult keys. I will not say never, but very probably not a difficult keys. So also here I would say, try to practice in the most into more easy keys. So after playing in C minor, which we did the whole time in this section, e.g. the a minor version, the E minor version, and the D minor version. And then you could do the G minor version and the F minor version. And I think that's done. You have already more than enough to play, well, like with the blues, 90% of everything That's plate. After that, you can do the more difficult keys. So how do you proceed in another key? Well, you look up the blues scale in debt particular key. You have all the blues scales and all the 12th different keys in the lesson that's called improvising in other keys. And that's at the end of the blue section, at a section two. So there you go, all the blues scales. Then you download in the resources of this lecture to play along file indicate you want, let me say you want to play in E minor. You take the blue scale in E minor that you have from the improvising and other keys lesson. At the end of section two, you download the play along track in E minor. You apply all the tricks that you've learned in this section with the E minor blue scale. When you want to play the 1235, then you take of each court the 1235, be aware that the first court is always the minor Cortes 0 to E minor, and be sure that you've take is then the minor third in the ADA courts, they are major courts in this chord progression. There you can take the major thirds, but for the first court, courts, that's always a minor quartet. Take the minor third instead of the major third, that'd be aware of that. So that's about practicing with the play along tracks with the chord progression that we've done in C minor and that can be transposed to all the other keys. What, when you have a totally other chord progression and the chord progression we did. Well, let me take an example. You have e.g. the chord progression C, G, a minor, F. Now, this is a chord progression that occurs very often in popular music. So how should you solo on such a chord progression? Well, the first question that you have to ask yourself is in which key is this progression? Now the key of a song is not so very difficult to determine. First of all, you have to find out the tonic note of the song. Now what does it tonic note, that's actually denote, that feels like home. Very often. It's the last note in his song, but not always. But when you play a tune, when you hear e.g. a. Chord progression, try to hum which note feels like home. Note that it doesn't have to be resolved to e.g. disown to be at rest than didn't note that feels like home. Now, when you do that in the chord progressions, C, G, a minor, F, You can just, while you play the chord progression, play several notes on the piano too few, or you can sing it to determine which node fuels home. Now, if you do that, you will see that it's the note C. So that means that the tonic note of this chord progression is the C. Now, in which key is the song? Now when the tonic note is C than the key of the song can be C major or C minor. Now how do you see if it's C major or C minor? Well, you see that the court used in this corporation is C, C major, so the key of the song must be C major. If it's not so obvious, what you can do is play the C major chord and the C minor chord over the chord progression. See which one fits. You will hear that it's the C major chord. If it's still not very clear for you, you can also play just the major and minor third in the key of C. So that's the E or D, E-flat, C, which notes fits in the chord progression in which one doesn't fit in a chord progression. And you will hear that fits well the chord progression and D E-flat not. So that's how you find out the key of the song urine. Now that you know the key of the song, which scale do you have to use to improvise over the song? Since we're in C major, you could say, okay, I will use the C major pentatonic scale. Yes, that's a good option. Now remember that the C major pentatonic scale is exactly the same scale as the a minor pentatonic scale. So instead of saying C major pentatonic echo def settle. So a minor pentatonic scale. Now, why do I say a minor pentatonic and not C major pentatonic because we're in C major. Well, that's because the a minor pentatonic scale is very close to a blues scale. It's only one node of difference as you know. So if you want to use a blues scale over this chord progression in C, you could use the blues scale, but if a blues scale doesn't fit over a certain song because it sounds to bluesy. I've been speaking of that earlier. You can choose for a pentatonic scale. Well, in that case, you would choose for C major pentatonic or a minor pentatonic, which are the same notes. But if you're looking for a blue scale and you're in a major key, then look for it's relative minor. And from debt notes, you've played the blues scale. So again, you're in C Major. What's the relative minor of C major? Well, that's a minor. So you can use the blues scale now. And as you know, besides the blue scale, you can also use the 1235. When you use the 1235, mostly in combination with the blue scale. As you know, when you use the 1235, be aware that you played a major third in major courts, but a minor third minor chords. So when you applied all the tips and tricks in this lecture, you can now play the solo over any rock, blues or pop tune in every key. Congratulations.