The Ultimate Blues Piano Course - Blues Piano for Everyone - Complete Piano Course

1. Promotion Video: Hi and welcome to the ultimate blues piano of course. In this course you will learn to play blues piano, music theory, reading music and blues improvisation. My name is Martin Cohen and I'm a jazz and blues musician, piano teacher, and composer. And I've already more than 25 years of teaching experience. I started my teaching career as a physics and maths teacher. But since many years already I'm now a full-time musician and piano teacher. So let me tell you about all the awesome things that you can expect in this course. First of all, he would learn to play very nice blues cuz that will gradually become more and more advanced. And that will teach many different techniques that are typical for blues piano and Blues in general, like for example, this tool or this one. And of course, I also teach you how to play some different known whose sums like this one or this one. Now, this blues piano of course, is for total beginners on the piano as well as for piano players that are more advanced. But that once you start to play the blues and a piano, if you're a total beginner, you can use this course as a normal piano course that teaches you all the ins and outs of piano playing, like music theory and reading music and everything about skills and all the course that you need to play the piano at that you can use for any music style. Not already for blues piano. If you're already a more advanced piano player, you can of course skip the music theory and eventually also to music reading lists and start directly to play the blues. After doing this course, you will not only be able to play all the great blues in this course, but also to easily pick up new blue cells or even songs in other musical styles. You will also be able to improvise over to blues in different keys. And what you start to play the piano as a complete beginner, you'll be taken to an intermediate to advanced level. I'd like to thank you very much for your interest in my course at, for more information, please have a look at my course description. I really look forward to seeing you inside of this course. 2. How to follow this course: Hi and welcome to the ultimate blues piano course. Now I think it's important that I tell you something about how to use this piano course. First of all, as I said, this course is for beginners and for more advanced piano players. So of course, if you're a beginner, you will start in the beginning and just do all the lessons till the end. But if you're more advanced piano player, you can of course skip some lessons, but I will talk a little bit more about that. I first like to show you the resource files. Now first of all, where can you find a resource files? You have to scroll a bit down and you have to do be sure to be on the projects and resources tab. And here you see the resources. I will open this so you can see them all. So as you see 12 resource files, you can divide it in three different types of resource files. The first one is the contents. Well, that's actually be the last one. It's this one. And the last resource file. Then we have the exercises, which is the first file exercise this blues, piano chords dot pdf. And the third type of resource files are just resources that go with the lessons. So that's all the other ones. The middle part from section one to section ten. So they contain sheet music PDFs, MP3 play along files, and more like that. Now I'd like to first tell you something about tha comes in. So that's this last resource file that you can see here. Let me download it and open it. So there it is. And as you can see, I've divided the course into 11 parts, 11 sections or 11 chapters, whatever you want to call it. Here they are. You see till, till Part 11. Very important is that the lessons which are displayed here, you see different colors. Slightly lighter colors are for the exercise as you see here, exercise, exercise. And you'll see more of them here during the course. And I will tell a little bit more about the exercises a little bit later. Now, as I said, discourses as well for total beginners, as for more advanced piano players. And as I said, total beginners wealth, you would typically start with the first lesson and just do less than per lesson till you reach the end. But advanced piano players can skip lessons, of course, part to some basic music theory. I think that more advanced piano players will know everything that is in here. Well, look at the titles. If there's something you miss, you can of course, do dot lecture. In part three. I start already by explaining what a 12-bar blues is, et cetera, and how a blues is typically formed. So if you're at an advanced piano player, but you don't know anything about the blues. You could start in part three, but you could, for example, if you already know how to read music, skip all the musical notation lessons. Now as I said, I would tell a little bit more about the exercises. And the exercises. As I said, you can find them in the first file, the first resource file. So let me open that. And as you can see this as a PDF file with the exercises. Now, everytime lesson isn't exercise. As you can see in the comments. Let's say for example, this lesson nine exercise, learning the names of the notes. You can see it back here. Listen nine. If you click on it, you go to nine exercises learning the names of the notes and you can click them on exercise one or exercise to this takes you to a website with indirect if exercises. Now about the other resource files. So from section one order part well, or chapter one, whatever you want to call it. Twists to Section ten. There are resource files. Let me just open one, for example, Section two. And let me open that. There is. When you open it, you see that the lessons that have resource files are listed here. You just see here the titles of the lessons that have resource files. So for example, when I opened this one to G major scale, you see there are two image files. There are six MP3 play along files. So you can just download them or opened them directly and to have access to all the resource files in this way. 3. Body posture and hand position: It's important to adapt the right body posterior when you played the piano so that you can play in the most comfortable way possible. For that purpose, you should have bench that is adjustable in height. The height of the benching should be set in a way that when you play the piano, your arms are horizontally or eventually slightly down towards the piano keyboard. Your arms should not go up. You keep your nice slightly under the keyboard with your feet flat on the ground, near or on the petals of the piano, Your beck should be straight. Now, this is very important. When you just start to play the piano. You might be a bit nervous or even stressed, especially when it comes to exercise, is that you do for the first time. And that seemed very difficult in the beginning. In that kind of situations. A lot of people tend to adapt to stress body posture. And that's of course not an ideal situation for playing the piano. Be sure to relax, relax your muscles, relax your body and your shoulders. When you're not stressed. When you're relaxed, your piano playing, we'll get much easier. Now, your hand position is at least as important as your buddy posterior. It is important that you don't play it with your hands in a flat position like this? No. You should put your hands as if you would hold a little bowl in your hands. So like this. So not flat, but as if you hold a little bowl in your hand. And that's of course the case for both hens. So BEC, right, arms horizontally or slightly down, feet flat on the ground, your hands as if you would hold a little bowl and relax? No, you're ready to play. 4. Finger Exercises: So now you know how to sit correctly behind the piano and how to have a correct hand position. Let's try to do some simple exercises just to get you used to the piano. And that's not the only purpose. The other purpose of this lecture is that you learn how to play in a smooth way. What I mean is the following. Just have a listen. I just played single notes here. I play it now in another way. And that's what I mean with smooth playing. This second time with much, was much more smoothly. I linked denotes together. I didn't leave any gaps. So we're going to try to play smoothly. Now, how do you do that? Let's begin with just two notes. What I want you to do is to go to both ends of your piano and then find more or less the middle of your piano. And a little bit left from the middle you see a group of two black nodes. Now, when you hold one finger, for example, the right finger on that blank note, and you go with your thump on the white nodes, just a left side of this group of two black nodes. Which you could try to do is to do just to link those nodes together. Just say do this. So it's very important that there are not two single notes like this, but they're linked together. They may not overlap like in this example. So don't let them overlap, but not make a gap either. Now, obviously, obviously you could do it with any two nodes. Or but I choose for those two notes because in my next exercise I will also use dose two nodes will use more than those two nodes. What I will let you play is a sequence of notes. I will play it first for you. Okay, that looks perhaps a little bit difficult. But the first two notes or just two notes we did before has a remember, if you don't remember, go to the middle of your piano than to a grouping of two black nodes. And take the second black node and the white note that is just left of this group of two black nodes. Then. So those two nodes, we're going to use that. A third note is this one. Now how can you find this note? Well, it's just the white note before the next group of three black nodes. So we now know Dose three notes. And you take this black tea also. Just at the right side of this note. So and tried to do it with thumb, index, middle finger, ring finger, thumb, index finger, middle finger, ring finger. So try this and try to come back also. Go up and directly Beck, and be sure to link the notes nicely together and to not leave any gaps. Okay, now we're going to try to play this with play along file. So into resources of this lecture, which you can find at the right side of this video when you're not in full screen mode. And you can see in this lecture resources just click on it. And then you have a play along file which you can download and where you can practice with. I will put on this practice File and I will let you hear how it sounds. And after that, I will explain you how to use it. So just let me first show you how it sounds. Ok, it goes on, but I'll just stop it for now. You can go on and on and on. So actually what did I do? First of all, your heritage for clicks before it started, it, it's tick, tick, tick, tick. And then I start in the same as the cliques. So when he clicks, do you just go on in the same temperature as the clicks? You here to this last note was twice as long as all the other notes went together with the clique. But the last note was actually two clicks. Well, of course, into play along file, you don't adhere to clicks anymore. It's only four clicks before to play along file is, but you have to imagine this drive, this beat going into same tempo as those four clicks into beginning. So listen well you here, 122, etc. So the whole time it's 111111 and then 12. Okay. So the last one is twice as long. Okay, so you're going to try that all played once more for you. But I leave just for a little while and then I stop it. You can go on and on and on it till the end of the play long file, of course. So listen well, okay, that's enough. Said you can go on till the end of the play along file. I think it's 1.5 minutes more or less. So that gives you enough time to practice with it, to practice with smooth playing. And it's very important for the rest of this course that you know how to know how to play smoothly. So try that. Be sure to keep your hands, not fled onto piano, but as if you would hold, hold a little ball in your hands, that's really very important. Okay, just try this. And when you can do this exercise, then you're ready for the next lecture. So see you in the next lecture. 5. Numbering the fingers on left and right hand: In the last lecture you heard me speaking about Put your thump them this key and put your middle finger on the other key. And it would actually be easier when the fingers had numbers. And that's exactly what we're going to do. And you can see here in this figure, the two heads, left and right hand. And in this figure, I will put the numbers of the fingers. So the thump is number one, the index finger as number two, the middle finger, number three, the ring finger number four at the pinky number five. And that's exactly the same for left and right-hand. So remembered as well because we're going to use this during the whole course. 6. Note names - The white keys on the piano: Okay, in this lecture we will start by the names of the notes, which is of course very important when you start to play the piano. Now, of course, if you're not a beginner and you know it, then you skip this lesson. I told you in the introduction already that a lot of the lessons in the beginning are for just beginners. So if you're not a beginner, just skip the lesson. It makes no sense, of course, to learn the names of the notes if you already know them. Okay, let's start. So if you look at the piano keyboard, it can see that there is some pattern in the, especially in the black keys. What you see is groups of three, like Case 32 black keys to, to what I take them all. So all the three groups of three black keys, here's one, here's one, here's one, and here's one. Now, we will rather look at groups of two black keys. So here's one group of black 0s here. And here. Now, as I said, we look at a group of two black keys, because at the left side of a group of two black keys, we see one white key. This one, and we call that white key the note C. So this is a C, but this is also, is also c. Every time at the left side of a group of two black nodes of the tube-like case is a Sikh. Well, this see, you don't see the two black keys on the right side because the piano stops here, but of course, this is also a C. Okay, what we will do, so we have one node now, is going to the key at the right side of the C. Well, if see it, this is a C. We go up alphabetically. What does this? Well, after C becomes D, So this is a d, and this is a d, and this is a D, et cetera. All the other digits you see displayed now. And we go on alphabetically. So after d comes II, and all the other 0s, of course, after a0 is f, and all the other f's out after f is the G. And here we have all the other Gs now watch out after G, normally in the alphabet you have the H, But yeah, we don't call it H. Why not? Well, remember we started on the C. Now what's the first letter of the alphabet? That's the a. What we do after the G is going to the first letter of the alphabet. So this is an. And here are all the other ace. Now we see there's only one white key left. And well after A is a B. And you see that after DB, we have again this c. So now we have all the white notes named. Now you could ask yourself, well, why did you start with the C and why didn't you start with the a? Well, there are several reasons for that, but well, one reason could be, well, a is situated within a group of three black keys and it's easier to look at, for example, this black keys, and this is just to the left side of it as well. As I said, it's not the only reason and it's even not the most important reason. But you will see later on this course why this c is a quite important note. Okay, that's it for now. In the next lecture, we will look at one special C and we have a lot of Cs. But only one see we call the Middle C. So see you in the next lecture. 7. The middle C on the piano: In the last lecture, I talked already about the Middle C. We've seen the Cs. You can find them always at the left side of a group of two black keys. This is the C here is the C, Here's a C here, C, et cetera. But of all those c's, there's only one see we call the middle C Now a middle C. Well, it's already a bit in the name. It means a c that is not too high, not too low. It's just in the middle. You see this, see here sounds very low. This S0 is very high, very high, very low. Now, approximately in the middle of the keyboard. Well, this is actually the middle of the keyboard. But near to the middle of the keyboard, we find a c. This is it, this is the C. And we call this C The middle C. Now you can try it on your own keyboard or acoustic piano. I don't know what you have. It has to be less. This sounds so this is already too low. Is it's already too high. Now, how can you determine exactly the middle C on your keyboard? Now, first of all, you can listen, Of course, at sea and say, okay, this, this is the middle, middle C. But of course, It's not a very precise method. Well, the, most, the best method to determine whether you have the right see that the Middle C is to go to the middle of your keyboard. And the middle of your keyboard and just go from the right side to the middle. And mostly you are in this region here. And it's always a little bit left of that region. It's exactly this is the middle of the piano. It's nearest to the middle of the piano. Okay, now, this is for every piano, it's different. On an acoustical piano, you have 88 keys. Now, this piano, it's not an acoustic piano, it's an, it's an electronic piano, digital piano. But this one also have, has 88 keys. You don't see them all this plate. This is the highest. See, you see. But you see I can go higher. You don't see it because it's not displayed. And this is the lowest see, but I can go lower. But you don't see it because it's the displayed. But this digital, digital piano also has 88 keys. How can you determine on keyboard with 88 keys in Middle C? Well, as always, as I said, go for the middle of the keyboard. That's somewhere here. The middle C is the nearest to the middle of the keyboard, and that's for all keyboards, all pianos always the same. A piano or a keyboard with 88 keys. It's the, well, this is the first day, you don't see it, but is it the second, third, fourth, it's the fourth C. So that's on acoustic pianos and digital pianos with 88 keys. Now, a digital piano or more in general, an electronic keyboard doesn't always have 88 keys, but always, you can always find the Middle C. As I said, I repeat it is the third of fourth time I say it by going to the middle of the piano. Just go from from from right to take your both hands. One on the left side, one on the right side, go to the middle and you're around here and the middle C is situated the nearest, always on the left side of the middle, nearest to the middle of the piano, so that's the Middle C. In the next lesson, we will talk about the black keys because we have named all the white keys, but not there yet, the black keys yet. So see you in the next lesson. 8. Note names - The black keys on the piano: Okay. The names of the black keys. Now, you remember probably that when we were looking for the names of the white keys, we looked at the structure in the black keys and that's so to determined the white keys, we looked at the black, he's now the funny thing is that to name the black keys, we look at the black and the white keys. So what I mean is you see that a black key is always surrounded by two white keys. This one also, this one also, and this one also. And now the black key is always names by the two surrounding keys. It's actually has two names. Every black key has two names. We will see that a little bit later. Now, let me start with this black key here. You see that it's at the right side of the sea. But on the left side of the d. Now, we call this black key a C sharp, or D flat. So when we call it C sharp, we actually say it's to see a little bit higher. And when we say a D-flat, Then we actually say a d but a little bit lower, right? So this, this black key has two names, either C sharp or D flat, and you write it, write it as follows. So you see it's above the virtual piano. I put the names of the black keys. So C-sharp, D flat. We can do exactly the same thing with all the other black tea. So, so this is, well, you'll see that it's surrounded by a, D and E. So that means we can call it d sharp or E flat. And we go on with all the black keys in the same way. This one is surrounded by an F and G. So this is either an F sharp or G flat. This one is surrounded by the G and the a, so it's a G sharp or a flat. And the last one, this one, the, this black key is surrounded by an a and a b, so we call it either a sharp or B flat. Now, of course, I took only those five black keys, but all the other black keys have the same names according to walk. Between which two white keys they are situated. Not we call this, let me take just one black key, for example, this one. So that's the D sharp or E flat. You can say, well, yeah, what should I call it now? D sharp or E flat? Well, you will learn later that it depends on the situation. For now, just remember that we have to name so we can call it either D sharp or E flat. And exactly the same thing with all the other black keys. Now, the D-Sharp and the E-flat, we call that an harmonic equivalent. Notes. What does it mean? It means D sharp is exactly the same thing. Is exactly the same note as an E-flat. You only call it other, you only call it in one situation, d sharpen and other Situ situation we call it E-flat. They are enharmonic equivalent notes. So when you see the term enharmonic equivalent note, it means, well, it's one and the same note, even if it has two different names. Okay. Yeah, that's it. We've named now old white and all the black keys. So you now know all the note names. Well, I say you now know all the older note names. Perhaps. If you are a beginner, you say, whoa, whoa, wait a little bit. That's going too fast. I don't know. I don't know them yet. How, how should I learn them? Well, you should practice. Well, how do I break this then? Now? Of course, what you could do is go, it is stick little stickers on the, for example, only on the white keys. That's enough because you know that the black keys, you can name them after the white keys. Be sure that you have stickers that you can take easily off. I would do that only in the beginning. The stickers when you know them take them off because it's it's it's it's yeah. What can I say? It's good when you know them by heart, so don't read them from the from the stickers on the keys. So that's one thing that you can do. So put stickers and the learn them and then take the stickers away. Be sure to know all the note names. Another good exercise is coming just after this lesson. And well after this lesson there's, and I have a link to an exercise, to several exercises, interactive exercises that will learn you very quickly all the names of the notes on the piano. So that's also a very good way to do it. Another way to practice It is just while you're playing to name the notes. When you have stickers. Well, just don't look at them. Look the other way. If you don't have stickers, you can, of course look. They'll say this is C, this is G, this is B0, et cetera. So anyway, it's very important to know the names of the nodes because to follow the rest of the course. Yeah, I would say it's really important that you can quickly find when I say a G up G and thought like, Okay, what was it? This was a group of two black nodes, is a, c, d, e, f, g. That's too long. So in the beginning it's okay, you can do that. You can use this tricks, but later on you have to say, GO directly here or here, or here or whatever. Or if you see this, know that you see out. I see directly that's a D. Okay. I would say duty exercises, especially the ones also in the next lecture. And I would say, I see you in the next lecture. 9. Exercise: Learning the names of the notes: In this lesson, you can do interactive exercises to train the theory you've learnt. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson nine. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 10. The C major scale: So in this lecture we will talk about the C major scale. Now, first of all, what is a scale? Well, scale is like a letter. A letter you can go up and you can go down. And scale is group of notes that you can go up and down. And actually you can play them in any order that you want. But when we Brecht his a scope, we do it usually up and down. Now, I set C major scale, so it has something to do with c. And now what a major? Well, actually I should say you have major and minor scales and there are even other types of scales. But for now, the most basic two types of skills are major and minor scales. Major scales sound more happy, and minor scales more said, well that's very general description, but I would say, when we do it, you will, you will start to recognize the sound of the scales. So let's start with a C major scale. Now, when I say C major scale, that means that I start on a C. I can start on any CI ones. Let me start now. For now, the middle C and the C major scale. I said already a scale is a group of notes. Well, this group of notes is exactly all the white keys on the piano. Well, all the white keys, no, but when we play the C major scale from C to the next C, It contains all the white notes between this c and the next C. So let me just play it. So just the C major scale. That was just very important to familiarize yourself with the sound of a major scale. So listen very well. I will play it again and just listen. Now you might have heard that before. When you hear a musician practicing scales, you might have heard the sound of this major scale before and we'll play it descending. Now, you see that I played in a certain way, in a very special way. I start with my thumb, so with finger one on the sea. Then I go up finger to well, the D finger three, middle finger on the E. And what I did was I went with my thump under the middle finger on the F. Why do I do that? Well, I don't have enough fingers to play all the notes with the scales. So I have to change fingers at a certain moment while I do that after the E. So 12 This figure 123. And then I go again with finger one on the F. So I go with my thumb under my middle finger to df, and then I can continue just with finger two and the g, three of the a for B and five on the C. Now when you practice, it's much slower here, very slow and be sure to tie denotes nicely together without leaving gaps are not like this, but tentacle under your middle finger. And do it all sort descending. So that when I do the scale descending, 54321, now I go with my middle finger over my thump. To be it's exactly the same finger position. So as when I go up and we in reverse order, you can not limit yourself to only one octave. From C to C, We call it one octave. But you can also do two octaves from C to D, C to the higher C. So we start in exactly the same way, 1231234. But now instead of going with my pinky on the higher C, I go with my thump under my ring finger on the sea. And so ring finger, the B, go with my thump under my ring finger. Play the C, and then it continues as usual to three with my thump under the middle finger. 12345. Not when you go down is exactly the same thing but in reverse order. So 54321, go with your middle finger over your thump to E 321. Now, to go to continue, go with your ring finger over your thumb to to be 43 to one. And as usual, again with your middle finger over a thump. Okay, I would say practice this first one octave up, one octave dm, then to up to, up to octaves down, right? If you can remember how the fingering was, I will put in resources the fingering. But you can of course, also look at the video how I did it. Now, of course, we did this with the right-hand. You should also do it with your left hand. Let me start a little bit lower since normally we play with the left-hand lower has I can start here. Of course. I can start. I can start on every seat. But let me for now start here. I put smacked him, kill the seeds. So now I start with my pinky finger five on 543, we continue to one. Now. To continue, we have to move our middle finger over the thump. Three middle finger on the a to one. I will do that again. 54321, middle finger over your thumb. Three to one. When I played in descending order, I do exactly the same thing but in reverse order. So 123, now I go with my thumb under my middle finger, the g 12345. So that's one octave up and down. Let me do it. Two octaves. 54321, as before, middle finger over your thumb to one. Now to continue, I move my ring finger over my thumb. So 4321, middle finger over my thumb. 321. Back down. It's exactly the same thing but in reverse order. So start with your thump on the C 123. Go with your thumb under your middle finger on the G, 1234. Now go with your thumb under your ring finger on that. So that's 123 with your thumb under your middle finger on the G 12345. Okay? Scales are important to know them, to know which notes are in the scales, but also how to play him. Yes, so right-hand one octave, two octaves, left-hand, one octave, two octaves. So breakfast him well, in the next lecture, I will show you how you can practice them with some play along files. It's nicer to, to to, to play them with play along fast and just played the whole time. You're growing. Hours and hours, the scales up and down. It's very boring, I know, but they're very important to know. So it's important to practice them. So to make it more interesting, I made some play alone files, which I show, show you in the next lecture. So see you in the next lecture. 11. The C major scale - How to practice: Okay, we're going to practice a C major scale. One octave, two octaves, right-hand, left-hand. And as I said, we do this with play along tracks. Now, you don't always have play along tricks with you. If not, you can also, of course, practice them without to play along checks, but it's not as much fun as with the platelet objects. When you play without blade along tracks. The best is to have a metronome stowed to it so that you have a fixed tempo and that you will not increase speed or, well, it's always better to practice with a metronome. I would then start on 60 beats per minute and slightly go up in speed as you master it at a slower speed. And a metronome I told it before, you can just download it on your telephone. You don't have to buy one. So let us play with the metronome. Now. I have before we start to tell you a little bit how to do it. First of all, the metronome starts with four clicks as 1234, and then you go on as usual with the click of the metronome. But then when you reach the high C, you had to repeat it and then go down. So don't forget. When you come up. Again C. And then you go down into same tempo as the metronome clicks. The play along tracks come in. Three versions, will actually six versions, but three versions for one octave and three versions for two octaves. And those three versions are 60 beats per minutes per minute, 90 beats per minute, and 120 beats per minute. So 16-19, a 120 for one octave and 609020 beats per minutes for two octaves. I will first show you the one octave versions. And I will start with 60 beats per minute. Here is the 60 beats per minute version. Ok, let me pull this off. Okay. So I stopped it because it will play four times and acidic you have the possibility to play it four times after another. But I stopped it after one time because I think it's clear for now. Let me do the 90 beats per minute version just for you to show how it goes. Here, we go for clicks before it starts. Okay. Yeah. So also here four times. You can play it four times its record. It's four times on the plane along fine. Let's go into 120 beats per minute version, which is twice as fast as the first version. Ok, so that we're that three versions for one octave. Let's go to the two octaves versions. Well, versions will do only to 60 beats per minutes version now because I think that once you see to 60 beats per minute per minute version that you understand the principle. Now there is one special thing with the 60 beats per minute with a two octave version, I should say. And that is that you normally play. You go up as usual, two archetypes. But now when you reach the high C, you know that with the one octave version, you went directly dot, well, you play deceive twice. The two octave versions. It's a little bit different. It's because otherwise their rhythm would not fit. So be aware that this c, you will also play it twice. But when you arrive at the sea before playing the second time, see, before going down, you hold it twice as long. So two counts of the metronome? Well, metronome, there's no metronome, but two counts of the play along track. So it's like this m one count the whole time. So 111111121111, etc. And so first, when going up this see you hold it for two counts. And then you start again with the C. And then every note has one count, including this first, see when you start descending line. So when going up these last C has two counts. When going down to first, C has only one count. So that's a little bit different than the than the one octave version. And that's for all three versions to 169120 beats per minute version. So I show you now what I say as the 60 beats per minute version. Here it comes. Oops. Okay. Now I showed you all of the play along tracks 609121 octave, two octaves only with my right hand. But you should, of course, also practice your left hands. Now, I'm not going to do the left-hand with you. I'm not going to show you the left-hand with the play along track because it's exactly the same thing. You use the same files, the same play along files. You just do it with your left hand. So I don't have to show you that. Show you that again. So I would say break this well, be sure that you can play it well, right? Remember tide and notes nicely together. Don't do this. And see you in the next lecture. 12. Interval structure of the C major scale: So now that we've seen the C-major scale, I'd like to have a closer look at the intervals between the notes, between the constitutive notes of the notes in the C major scale. Now, first of all, what does an interval? Well, simply said, an interval is just a distance between two nodes. So for example, you can have a big interval between those two notes, or a small interval between these two notes, even smaller. This is just the smallest interval you can make. Well, actually you can make even a smaller interval between this node and itself, which would be a distance of 0. But let's look at the interval between two different notes. So before we look to the C major scale, I will first tell something about intervals. By the way, we've seen already one interval. Remember that when we did the C major scale, one octave or two octaves? Well, an octave is an interval from C to C is an octave. And from this C, this C is two octaves. And from C to D, C is three octaves above, et cetera. Well, now an octave is not necessarily always between c and c. It can be between d and d or between, well, let's say G and G, or between two black keys, for example, leaflets and E flat, or D sharp and D sharp if you want. That's also an interval. One interval, two intervals, sorry, one octave, two octaves, three octaves. So you can have, an Octave is always between one note and the next of occurrence of the same note, et cetera. So that's the first interval. Let me talk now about two small intervals which we will need when we will examine the C-major scale. The first one is the smallest interval that you can make on the piano. Well, the smallest interval that exists in Western music. So between two consecutive notes. So that can be between C and C sharp, or D flat, or between the flat and D, or also between E and F. You see that between E and F, there's no black key. So this is also the smallest interval you could make such a small interval, the smallest interval, we call it a half tone. Or we also sometimes call it a semitone, or even a third name, a half-step. I mostly say half tone. So this is a half-tones business. A half, don't, this is a half don't this is a half. A half to also between. B and C, that's also a half-tones between two white keys. You'll see that it's not possible to have a half tone interval between two black gates because a Blakey is always surrounded by two white keys. So between tube-like, between two black keys, no half-tones interval. So that's a half tone. The other interval I'd like to see is a whole tone and a whole zone is just to half-tones added together. So for example, from C to D, That's a whole tone. A whole tone. We also call it sometimes a whole step. Between D and E. Also between c and d sharp, or D flat and E flat. That's also a whole tone. Bod, for example, from E, a whole tone up, well, this would be a half tone, 1.5 tone more. This is an interval of a whole tone, or from E flat to F, that's also o whole tone, well, et cetera. I think you get the picture. So we know now three intervals, half-tones, whole tone, octave. Let's have a look again at the C major scale because the intervals between the cosine between constitutive and notes of the C-Major scale form a special pattern. And that pattern we can use for older major skills. And that's why it is so summed all the same, even if some are at an outer pitch than other major skills. And I, for example, I can start a major scale on G, or I can start a major scale on, let me say F sharp, right? When I play, for example, the F sharp major scale, it's sounds in some way the same as a C Major scale. Don't look at what I played, just listen. Sounds exactly the same. They'll be starts on F-sharp instead of, I'll see. And that is becomes because the intervalic or that the intervals between the constitutive names, they're consecutive notes, are the same. So let's have a look at those intervals. We started with C. Next note is D. Well, that's a whole tone difference. So our first interval is a whole tone. The next interval from D to E. Well, that's also a whole tone. From E to F. Well, you can clearly see that it's a half-term from F to G, a whole tone, from G to a. A whole term for a to be a whole tone. And finally, from B to C, Well that's a half tone. So what do we have? Whole, whole half hole, hole, hole hat. So this structure, this whole, whole half, whole, whole, whole half. Sometimes also write it as 1.551111. So it is structured is well, let's say formula is what I call the major scale formula or did or the major formula. And I will use this formula to find all the other major skills. So the next nature scale in the next lesson will be to G major scale. We will start on the note G, and we will apply this formula, this 1.551111, or whole, whole half, whole, whole, whole half, to determine the notes into G major scale. So see you in the next lesson. 13. The G major scale: Okay, did G-major scale. So we will use our major scale formula to, to be, to determine the notes of the G-Major scale. I hope you remember did formula. Well, if not, it's no problem. I will show it above the virtual keyboard. So we started on g and we will apply the formula. So first one holds up, well, takes us to a, again, a whole tone up, takes us to be. Now we have to take a half-step, half tone. So from b we go to see again, now a whole step. Again, a whole step. One more time, a whole step. And you see that when I take from here a whole step, I arrive here. Now, this is an F-sharp. We said you can also call it a G flats, but in this case, we call it an F sharp. I will explain you in a while why we call this F sharp and G flat. Okay, the last interval was a half tone and you see it's takes us back to G. By the way, I didn't say in the C major lesson that denote where we start. And so in this case the G, Because the G major scale, we call that the root. So G is the root and indicates of the C major scale. C is the root. Okay, so when we have the G major scale, we see it consists of the next notes, G, a, B, C, D, E, F sharp, G. So we see, we have now one black tea into scale. Okay, I promised that I will explain you why this is an F-Sharp and G flat. Now, assume we would call it a G flips, that the last three notes would be E, G flat, G. Now, you see that first of all, I go from E to G flat, so I skipped the letter F. Now, that's one rule. And that rule that says don't skip letters of the alphabet. So from y0 I have to go to something with an F. No, that's only possible when I call this note an F-sharp. That's one rule you can apply to determine whether this is an F sharp or G flat, in this case an F sharp. You can also apply another rule. And that's what lets go with again, a, G flat, for example. Then the last three notes, which again B, E, G flat, G. Well, you'll see that we have two times the letter g in G flat and in g. Well also that is forbidden. We couldn't not to have to the same letters. So when this is a G, This has to be something with an f. So this is an F-Sharp, right? So you have two rules, but you have to apply only one of both rules. Perhaps didn't. This second rule is the easiest one. So you can have, you kinda have to same letters for two consecutive notes. So again, G, a, B, C, D, E, F sharp, G. And you can directly see which fingers settings I use. It's exactly the same as for the C major scale. I start with my thump, in this case on the G, because that's our root. 123. I go with my thumb under my young, my middle finger on the sea. So 12345. Don't forget that this is a black key. So exactly the same as for the C matrix. Go and back, exactly the same, 54321. And I go with my middle finger over my thump, three to one. So that's one octave, two octaves. Again, it's exactly the same thing as for the C major scale. So 1231234, don't use your pinky now, but use your thump. And I show you go with your thump under your ring finger on the G, 123 thump under your middle finger, 12345 and back. Exactly the same thing. Reverse order. 54321, middle finger over your thump. Three 21 ring finger over your thump on the F sharp, 4321, middle finger over your thump. Three to one. Exactly the same thing with the C Major Scale, but watch out. You need the Blakey. Yeah, left-hand also, exactly the same. So that's simple. I will start here now on this 5432, one goal with your middle finger over your thump. Three, that's one octave up, one octave down. 123, thumped under your middle finger. 12345. Let's do two octaves, also, exactly the same as with the C Major Scale. 54321. I mean, middle finger over your thump. 31, ring finger over your thumb, 4321, middle finger over a thump, 321. Down. As usual, exactly the same thing but in reverse order. 123, Thumb Under your middle finger, 1234, thumped under your ring finger. 123 thump on the middle finger, 12345. So that's the G major scale. Exactly as with this C major scale, we have practiced files, play along files. Now, I will not show you how to do it because it also works at exactly the same way as the C major scale. So just use the files to practice. 60 beats per minute, 90 beats per minute, 120 beats per minutes. One octave version, two octaves versions. And you can use all the files for your right-hand as well as for your left hand. So I would say practice, start slow and then increase the tempo. While if you cannot play it at 120 beats per minute, it doesn't matter that the most important thing is that you can play it even at 60 beats per minute. Okay, that's it for now. See you in the next lecture. 14. The F major scale: Ok, well we'll do one more major scale, the F-major scale. So we have the root note. And we will apply again our major scale formula, which you see again above the virtual piano. So we start on F, go up one whole term to G, another whole tone to a, then a half tone, and that's B flat. It's not an a sharp. I will say, you know why, why? That's again, one of the two rules that we learned in the previous lesson. So we need now a whole tone and got to hold on to D, to E. And finally, a half-tones brings us back to our root F. So the F major scale is F, G, a, B-Flat, C, D, E, and F. So again, why is this B flat and not a sharp? Well, assume it would be a sharp, then you would have denotes a and a sharp. It's two times the letter a. That's forbidden. Or when we apply the other rule, if this would be a sharp and C, then we skip the letter B. And we may not skip a letter. That's so you apply one of both rules. So that's interesting because the G major scale had, as the F major scale, only one black key. That's for the G major scale. It was the F sharp, so it's a sharp note. But 40 F-major scale, it was a flat note, the B-flat. So again, the C Major Scale had no sharps or flats, only white keys. The G major scale has one black key, which is a sharp, F sharp. And the F major scale also has one Blakey, but in this case, it's a flip note, the B-flat. Okay. You see probably I did something else with the fingering that you were used to. And that's exactly the case with the F-major scale. So let's have a closer look. Why do I do it? Do it? Because when I change here to my thump, then I will have to turn my arm, my arm in an almost impossible way too, will end with my thumb on the B-flat. We don't do that. And by the way, a thump on a sharp or on a black key. We do it at the very, very rarely, almost never. So what we do is 1234. So with your ring finger on the black E on the B flat, then you go with your thumb under your ring finger on the C. 1234. So it's actually two times 12341234 and again 1234. So that's simple to remember. So when we go down one octave, it's exactly the same thing in reverse order. 4321. Go with your ring finger over your thump and again, 4321. So that's two times four, 3.2.1. So that's one up to, let's go up two octaves now. So we start in the same way. 1234, again, one, so with your thumb under your ring finger, 123. But instead of using your ring finger on dF, we've now moved with our thump under or middle finger on the F One, 234 and done as usual, run 234. And that's audio. Only difference is that we when we lend here with our fingers three onto ie debt, we don't go on with finger four on the S button. Instead we take finger one for tourist. It's all the same. So let's go back. 4321. Go with your ring finger over your your thump. 4321. So it was for a two times 43214321. Now, we do three to one. So we go with our middle finger over our thumb to the E 32. And again with art ring finger over our thump to B-flat 4321. So okay, so if you forgot, you can always review the video. Of course. You can, of course, also use the files into resources. Were I again, show you the exec, finger positions for the F-major scale. So that was the right-hand. Let's move to the left hand. And the left hand is again simple. We know the left-hand because it is the same as with C and G. So we start with finger fives on the F five, 4321, we go with our middle finger over a thump three to one. That's up and down, of course, as always, the same thing but in reverse order. 123 with our Thumper under our middle finger, bottom 2345. So exactly the same thing as with C Major and G Major. Let me do it's two octaves. 54321, again with our middle finger over a thought three to one. Now we go with our ring finger over a thump, 4321, and again with our middle finger or thumb, 321. Down. Exactly the same thing in reverse order. 123 thump under your middle finger, 1234, some under your ring finger, 12 3s on your middle finger? 12345. Okay. I do this quickly. I don't repeat it because you can see the video as many times as you want. And again, you can find the file with the PDF file with the finger positions into resources. So again, you can practice it as always with play along files, which you can find in your resources. As usual, it works in exactly the same way as with the C major scale and this G major scale. So I don't have to explain it again. So I wish you success while practicing all the, all the major scale. So in this case, the F-major scale. And I will see you in the next lecture. 15. Introduction to other major scales: So we have seen so far three major scales, D, C Major Scale, G major scale, and the F major scale. Well, how many major skills aren't are actually, Well. There are as many major skills or their root nodes and how many, how many nodes are there? Well, as many as there are different notes on the keyboard. Well, how many different notes are there on the keyboard? Well, as you know, the whole thing repeats the whole time. So this whole, all those notes repeat each other. So we have to see how many notes RDs. Well, it's 123456789101112. We have 12 different notes. We all know the names already. And we've seen three different major scale. So HDR, nine more major scales to do, but we will not do them now. I think it's important to start with the blues. So we have enough now with the C major scale, the G major scale, and the F-major scale. And later on, we will do other major skills. But before we go on, really to play the blues, we still have to seat one thing and that's courts. So in the next lecture, where we will talk about courts, and we will see the C major chord, the G major chord, and the F major chord. And actually I should say dry it's because a dry it, that's a court. It's a special form of a court, is a court with three notes. You can make courts with more notes than three notes, then it's not a Try it anymore. But for now, we will limit our self to try it. So, see you in the next lecture. 16. Chords: The C, G and F major triads: Okay, we will finally learn how to play. Our first courts are first triads. And we will start with the C major triads. By the way, we will only do major triads, of course, because we haven't seen the minor scale yet. So to C major triad. Now, a major triads, it's very simple. A major tries consists, as I said before, of three notes and DOS. Three notes are the first, the third, and the fifth note into C major scale. C major scale. We all know what C, D, E, F, G, a, B, C, and D. First, third, fifth note. Well, that's C and G. And when I play them together, that gives me the C Major chord. So it's as simple as that. C, G, C major chord. Okay, let's do that. 40 yum. G-major court. Well, exactly the same formula. So first, the G major scale, that was G, a, B, C, D, E, F sharp, G. But we will need only the first five notes. The first, second, third, fifth note of the G-Major scale arc, the G, the B, and D. So this is the G major triads. And in the same way we can make the f major triad. So first, the F-major scale. Again, it was F, G, a, B-Flat, C, D, E, F. So our first five notes, notes, and the first third, fifth note of the F-major scale, or the F and the C. So this F is the f major triad. And that's all. In the next lecture, I will talk about a special property of, of major triads. You can make them sound in another way. So, see you in the next lecture. 17. Chord inversions: So in the previous lesson we learned three courts or three diets. Sometimes I say, try it, sometimes I say Court and try it. There's always a course, but a core does not always it. Try it. Okay? The C major chord, the F major chord, and the G major chord. And as I told you in the end, at the end of the former lecture, we can play them in different ways. We can make them sound in different ways. Let's have a look at the C major triad. What happens if I take away the c here? But instead, blades up here. I've done get this. It's still a C major triad because we still have the same notes. C, E, and G, budget in another order, E, G, and C. Listen to the difference. And I can do, I can apply the same trick. Again. I can take this lowest note, which is now the E, and put it up an octave, ID-1, ID-1, get g, c, E. So I have now it's still the, the C major triad, of course. So I can play it now in three different ways. I could apply this trick once again. So the G, I take it off here and play it an octave higher. But look what happens. This is exactly the same shape as we had here. Look at the lowest note. Here it's a C, and here it's also a C. So actually there are only three different ways in which I can play the C major chord. Call this way of playing the C major court, where, where to see the root note of the court is the lowest note. We call that the C major chord, or let's say Try it now. It's the C major triad in root position. This. So with the third note of the C major scale as lowest notes, so to E, We call that the first inversion. So the C major triad in first inversion. And logically this, where the g to the fifth note of the C major scale is the lowest note, is that the second inversion? So this is the C major triad in second inversion. Root position, first inversion, second inversion. And this is, of course, again root position only blade an octave higher than here. Okay, we can do that for every court, for every try it. So let's do it for the DEF Try it. Now. This is the root position because the root note, the F is the lowest note. I can take the f an octave up, and I get to first inversion of the f major triad. Can now take the third note of the F-major scale up an octave, and I get the second inversion. So the f major triad in root position, first inversion, second inversion. And of course here I'm Beck in root position, but an octave higher. For the G major chord is exactly the same. This is root position. Take up the G an octave higher. So that's the third note of the G-Major scale is lowest note. We have the first inversion. Now. The fifth notes of the G-Major scale. Scale is the lowest note and we have the secondary version. So G major scale, root position and first inversion, second inversion, and Beck in root position, but one up to fire. Okay? So that's inversions. Yeah, it's important that you practice this. So not only the three courts that you learned, but also how to play, how to play them in this different inversions. So practice it well on your piano. In the next lecture. I will also make an exercise where you, an interactive exercise where you can play a little bit with that so that you learn. Oldest supports those three courts in those three inversion, which makes a total of nine different shapes. Ok, so that states for now, we're almost through the theory. So that means that we can very soon start to play the blues. 18. Exercise: Learning the C, G and G triads: In this lesson, you can do interactive exercises to train the theory you've learnt. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 18. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 19. Beats and measures: Hi. In this lesson, I will talk about beats and measures. So what are the beats when our measures and I will start with a beat. What is a beat? One? You all know, of course, when the music plays, you can collect with it or depth your knee. Mostly when or shake your head or with your feet or whatever. Mostly do that together with the beat of the music. Alright. So you hear often musicians when they start playing, they, they do like 1234 and Wang, they started to play. And actually what they do is counting the beat. Now, let me we will, for now, I will clip on my knee to indicate a beat. So mostly you will collect the beat with the music. And that's the way how we count in music. Now, as I said, very often it's for house or you will count 12341234. And in this very simple case, you could have notes that go together with a beat like et cetera. Well, I don't sing very well, sorry for that. But so notes that are on the beads go together with the beat. Of course you can have notes that's, that's, that's last longer like two beats, et cetera, or even longer than that, like, like, like four beats. Okay, but let me now look at notes that are exactly with the beat. Dum, dum, dum, dum, et cetera. You can also have notes that go twice as fast as the beat. Dum, dum, dum, dum, dum, dum, dum. Okay. In that way, you have also notes that full in-between two beats. Now they're a little bit more difficult to count. But what you could do is I collect from my my knee and I hope I hold my hand here. Listen, I can have also see 1234. So in-between the beats is when I'm up. And I could count it as 12341234, end, et cetera. So That's the way we count very often in music. Of course, you can't have notes that are even quicker, like so. So now we have two notes per beat and dum, dum, dum. But you could have four notes would be that the, that data, that D dot, dot, dot, dot, dot, dot. Now, that's even greater. I will, for now not talk about those nodes. We will limit ourselves to two notes that are on the beat and twice as fast as the beat. That you could even have three notes in one beat. Dot, dot, dot, dot, dot, dot, dot, dot, dot. Et cetera. We call that triplets By the way. Also that later we will talk about triplets. Now, measures. What is the measure? Actually, we divide the music in pieces and little the units that we call measures. Now, when musician counts 241234, Wang and they start to play, you could actually go long counting 1234. During the whole piece. He could count 12341234 and continue while the music plays. No one such a unit of 1234, we call that a measure. Now is it always 1234? Note, but most music is 12341234. You have also music that has only three coulombs per measure. So 123123123, a waltz, for example. Such a peace. Yeah, I would say that's also quite common, but most common is when there are four counts in four beats in one measure equal to afford quarter time signature. And three beats in a measure would be a three quarter time signature. Now, there are other time signatures, 68th, five quarter, even more exotic time signatures. We will not talk about that. We will, for a first time, only talk about fourth quarter time signature later also what? Three-quarter and and and also another time signatures, but Furda beginning just for a quarter time signature. Now, we write all this in music, of course, in music notation. Music notation. You might have seen it before. I've so for example, here you see some sheet music. Well, it looks very difficult, very complicated. All those lines, all those notes. We will do it step-by-step. It won't be that difficult. So first of all, the staff, that's those five horizontal lines. And we write notes on and in-between those five horizontal lines and even above and below those lines. As I said, we divide the music and measures and we make those measures by vertical lines. So the vertical lines divide two measures. One measure vertical line next measure vertical length, next measure, et cetera. So we speak not afford quarter time signature will, when it pieces euphoric quarter time signature. We mentioned that in the beginning of the staff and we've been bit by this symbol. So it looks like a mathematical friction, only without the little horizontal line between the upper and the lower part. So a three-quarter time signature will be this. But as I said, we will talk about court order. So I put back to the fore quarter sign. Since this is a very most common times signature, we also put it very often, they symbol. Now. Very often. We also put other symbols before the music of the so-called clef. So for example, a treble clef, you might have seen this before in sheet music, is very nice symbol or a bass clef symbol. But for now, I will not use the cliff, so take it away. We will concentrate for now just on time, say signatures, sort of fourth quarter to begin with and measures. And we will need that for our 12-bar blues. Oh, I didn't mention that measure. We call those also very often bar. So a bar or a measure. That's the same thing as saying it's two different words for the same thing. So to 12 bars or the 12th measure blues. We'll start with that in the next lesson. So see you in the next lesson. 20. Basic 12-bar blues progression: So in this lesson, we will finally learn the 12-bar blues progression. And we will learn to 12-bar blues progression in the key of C major. Not what do I mean by the key of C major? What does it mean? Well, it actually means that the home note denote that feels home is the note C. And not only denotes he, CT, C Major feels like home court. Now, what does that mean? Well, have a look at this. I will play a very simple melody with just three courts. The three courts that we know, C major, F major, and G-Major, simply play it for you. It's simply to CT, C major, F major, G major C. And I just play some melody over, over it. Now, why do I play this? Just to let you hear that C Major is that feels like home, the home court. And the note C fuels like the home note. I'll play it once more and I stopped somewhere in the middle. I end it on the F chord and also on the f Note. That this note feel like home. This few feels like home. I will stop on the genome. The Court has. The melody is a b. You're here. It doesn't feel at all home. You want to go back to that C. Finally, we're home. So it means that the c is the home note and deceit. Major court is the home court. You actually want to go back to that court and then you can see, finally, we're back home. Now doesn't mean that always the song has to has to end and eventually begin with that court. No, not necessarily. Very often it is the case, but not always. Sometimes you might want not to feel like home with the last scores, but very often it's done. Okay, so that means that this song, certain song is in the key of, well, whatever, in this case, C major. We're going to play the blues in C major. Important thing to know is that the blues has almost always 12 bars. I said almost always. So that means it's not always the case. You have 16 bar blues, you have, well, even other numbers, but in most cases it's 12 bars. So in our case also we are going to use 12 bars, 12th measures. Okay, let me draw some staff lines and we will do the blues, the measures to 12 measures. On those staff lines, I have here three horizontal, horizontal staff lines. So that means I can draw four bars. Bird line. Okay, the basic blues, we're going to make a basic blues progression. Actually the most basic blues progression that you can make consists in the key of C major, of the court's C major, F major, and G-Major. Now, since we're talking about the key of C Major, we say that the C Major chord is the one courts, also called diatonic court. Well, C is the one court. What does after them? Well, since in the key of C, F is the fourth note, C, D, E, F. We say that f is the for CT. And obviously g, that's the fixed note in the key of C major, is then the five chord. So very often who speak of urban courts for courts and five chords. I'll come back to that later. We can put the C, F, and G courts now in our blues progression. And on our first line, we will have four measures of c. The second line, the first two measures will be F, and then two measures of C again. And on the third line, two measures of G, and the last two measures C. So this is a basic blues progression. Now, not all Blues Progressions are oldest saying because you can make it much more complicated. You can add courts. You can add extra notes into courts which make it which colour to courts in a certain way. But this is actually the most basic blues progression you could make. And we will start with this most basic blues progression. We will get to more advanced blues progressions later. What I will do now is let you hear this blues progression I just record. It's a very simple setup with the bass guitar, an organ sounds, and a guitar sounds. Now, we will use this exact same blues progression for the next lectures. But then we will do without the guitar and the organ sound because you will play piano over it. So, but for now, let's just play, it's what I will do. First of all, the metronome we'll click four times, just like the bent that, that's counts 1234. And then we start. And after that, you will see here into booth progression that I will show a colored transparence, transparence bar that's moves along with the measures with the beats so that you can exactly follow where we are. And I would advise you to do that. Look at the bar count to four in every bar and see how it moves from bar to bar, from measure to measure. Barton, the measure is the same thing. And this is very important to get a feeling for how the basic blues progression sounds. And that's needed because if you want to play it, you actually have to know it by heart. You have to know when. Is when which courts playing. So listen well until you look very well at the, at, the blues progression gets displayed here in your screen. And at the transparence colored bar. Here it comes. Okay, we didn't know one route. I will stop it for now. We did one round day, some place in total three rounds here. So when you are going to play with it in next lectures, you will have three rounds to Plato bleeds over. I hope you noticed very well that didn't know how, how it works these blues head. So all the measures, the beats that you follow, the transparence bar. Now to have even a better feeling for this forward as blues progression, I'd like you to play just the root notes with it. So every time when a new measure starts, you just play the root note of the court. So you play four times c, two times f, two times c, two times g, two times c. So I will know, let it do three rounds and I will play the root note with it. You can look with me how I do it. And you can do it yourself. And then blade defeat video Beck, and play over it yourself with the root note. This gives you a very good feeling of when the court changes come. So let me start and there we go. You're out. Welcome to the last round. There is no peace. Now comes an outro. You don't have to play with it. Ok, let me stop this. Okay. So try it out, play several times, overeating till you're familiar with when the court changes coming these blues. And next lesson, we're really going to play the blues. See you in the next lesson. 21. Playing the chords in the 12-bar blues: Okay, so now that you have learned the courts F, C, and G, And now after you have learned also to 12th bar basic blues progression, it's time to practice with it. So we're going to play our first blues. Now it will be very simple in the beginning of course, to let you get used to all the new stuff that you learned. We will learn two things here in this, in this lesson. First thing is we'll practice with the course on the piano. So you will learn the CT, C, F, and G also be inversions. And a second thing you will learn is to familiarize yourself with the blues progression. So the 12-bar blues progression is very important to familiarize yourself with it so that you get a feeling for when which courts comes at what time. So I could see, I could say so that it's in your system actually. So what we'll do in the first base is we will, in the first place, do our right-hand after depth, we will do the left-hand and we will even try to put both hands together. First, we will play just the courts in root position, C, F, and G. I leave my left-hand out now, but later we will also use try the left-hand. Of course. We will do this with a play along track. So I made a play along track with the 12-bar blues. And I will put it on, and I will just play the courts in root position with it. Now, i will repeat every courts at the beginning of a new measure. That's very good too, because in deaths, in that way, you really learn when an EU measure starts and you can counter measures one to 12 so that he can know when a new round of the blues starts. So let me put on the, the, the play along track which you can download them in the resources. Of course, this has had to 80 beats per minute. So four counts of the metronome before it starts. There we go. This is the second measure. Third. Fourth belong to F 5678910. Make 2i. 1112. Okay. A new round starts. A second time. Third 456 measure, 789101112. Okay. You round. I will not mentioned to measure measure numbers. I mean it anymore or where to go to the second major Sargon. Okay. The third rounds and then it ends. And here's sort of outro. You don't have to play that. Okay. Let me put this off. Okay, so I made a little mistake because I was talking. So just practice the root positions. You heard that it was three rounds of the, of this blues progression. After that, you also try it with your left hand. I will not show it to you because it's exactly the same thing. And then the f and the g, etcetera also three times. So practice that with your right hand and with your left hand. Very often when you, you play the melody with your right hand or Sono with your right hand. And you accompany yourself with the courts with your left hand so that, so that's why it's very important to learn it also with your, with your left hand. Now, once you've done that, once you know how to play this, once you have familiarized yourself with the blues progression, with the courts, tried to do the same thing, but done with the inversions. So, for example, take everything in first inversion. So first measure, first measure, second measure, third measure, While, et cetera. And then the F chord, you played like this in first inversion. You can also take it here. Because better. So did you have to make a little jump? Okay, here you have to make also a jump. So whatever you like, this one or this one. And then you go back to the C and the G. You can play it here or here in first inversion. So play the blues progression. Also with this first inversion. Dan do second inversions. So you can also played here, of course, whatever you want. So this is the discord in second inversion, the F chord in second inversion, you know, ADA, and to the G chord in second inversion here. So breakfast as that's also, of course, not only with your right hand, but also with your left hand. So first inversion, second inversion, so first inversion here. And second inversion. Where are we here? With your left hand? So you can all do that, of course, with the same practice fail. When you have done that. I think a good exercise is to mix different inversions. And why would you mix different inversions? Well, look, every time we go from one core to the other, we have to make a big jump, especially from a wealth from C to F or from C to G. It's a big jump. But also go here of course. But you have to move your hands a lot and you can easily make mistakes. Why notes played, for example, like this, when you play, for example, the C court, just in root position. And then the F chord in second inversion. And then the G gourds. You can either do in second inversion or in first inversion, so that you have all the courts very near to each other. C, f, for example, G. So you have root position, second inversion of the F chord, in first inversion of the G chord. Let me put that play along, check on and let me pay like this. Okay, here comes a second drought, but I will not play because I think you understand the principle. Let me put this off. You understand the principle. So you see, I hardly move my hand. Actually, I don't move my hand at all. I only move my fingers a little bit. That's all. Now, this is one way. You can also do it like this. So that's the C chord in first inversion. F courts in root position, and the G part, what is it in second inversion? So try several combinations. You can take other combinations, combinations of inversions. Try them all out or well, all, try several combinations out. Next step would be to play both hands together. Now, what do you have to play with your left hand? For now? Only the roots of the courts. So just c, f, and g. Even play it here. And it's really like as if you were a bass, bass player. So your left hand is and the bass player, and it plays just the roots of the course. So see, just take dose inversions, but you can take the inversions you want. Let me put the play along track on and let me play just one round with the play along track with with my left hand and right hand together. So that was one round this off. So I think you have really enough to practice. These is well, you will not do everything in just ten minutes or even half an hour. You will need some time to practice all these. So I repeat, I repeat. First, do with your right hand, everything in root position. Then you can do inversions. So let me take, say, first inversion, or here. This is everything at first inversion or everything a second inversion. You do everything also with your left hand. After that, you're going to do a mix of inversions. Or but you can also do it when you invent your own mix of inversions. Also with your left hand, of course. Let's again another inversion. Other inversions. When you've done that, then do it with your left hand, just the bass notes and the left-hand and the right-hand side, the courts. Perhaps. You do first only the base. The base is, although the root notes with your left hand. Four times the C. Two times C, two times the g two dimes and see, okay, you know, the blues progression. And then you play it hands together. Okay, I wish you lots of success. And I see you in the next lecture. 22. Your first simple left hand bass line: Okay, I hope you practice well, that former lecture. So all the courts and all the inversions. Eventually also with the left-hand. It's very important that you know how to play the courts in different inversions. And that you are really familiar with, for a million arised, difficult words. Word familiarized with the blues progression. Because really you will need it to follow the rest of this course. So be sure that you really know how to play everything from the former lecture. Now, if you make a little mistakes, from mistakes from time to time, it doesn't matter. You don't have to play it without any mistake to be able to continue. Ok, so that being said, let's start with this lesson. So what we're going to do is actually to make a very simple baseline. And a baseline. We do it with our left-hand. Now, you know, in the last lesson, when we played the left hand bass better, it was only simply the root notes. So do you see the G? And today we're always at the beginning. So on the first beat of every measure, 2341234, etcetera. Now, what we're going to do is change every beat. Denote. So we have four beats in a measure, so we make four notes with our left-hand per measure. Now what are, what are we going to play? We're actually going to play the chords, but we will not play the whole court, even if I would do that, listen. That sounds horrible. Just because it's too low when you play a chord here, that it's okay. Oh, okay. This is doable but hear, sounds very muddy. So what we're going to do is to arpeggiate the court. Now, what is arpeggiating? It's playing the court notes one after the other. So what were you going to do is so that's one measure, 123 for next measure, 1234. So this is every time we have a C CT in the blues progression, we play this better. See, it's perhaps good to just practice only this several times. Just repeat it. Lots of times daily, delicate play it in a smooth way with f also. So that's f a, f, a, f a. See a just played after harvest until you get used to it. That's, that's counting 12341234. So go on and on until you really can play. It's mostly, of course also with a G. So that's g, b, d, b 1234. Well, you know what I mean? That's so breakfast that now it's with the finger positions. There's something special because if you go from the sea, so, so with measure with a C chord, so where you play 1234, you know, you have to play it four times in the beginning, but let me say that we are in the fourth measure. So it's 1234. And after the fourth measure, measure, you have to go to the F. Now, you can make the jump and go here. But that you cannot link this note at the EFF together because you will have this. So there's a little gap when you want it to be smoothly played. And when you want to link all the notes together, you have to invent something else. We do it like this. So we're in our fourth measure to fourth time. See. What you can do is go with your thump on dF dot, middle finger on the a, and then you do again. As you were used to. Also try after you have practiced several types, the one 3.5.3, I refer now to numbers of the fingers. It's not 1353 is 5313 starting because these this figure five and these this finger, 153135313. Now the third measure, 5313, fourth measure, 313, and then you go to the F, 313531, et cetera. That's so try this transition, the transition between the C and D F. So I've played out fourth measure. And you could try it at several times. A god. Well, you had a picture that I have to try it several times to get used to this movement. Ok? You also have to go from the back to this. See. Now let's assume that this is my second measure of f And that I go back to the C. So I do that 531. The best is to go to that because then you have enough. Stretch your hand a little bit, but you can then go with your pinky on the seafloor yet. So what you get it done, do. So try this several times. 53125313. Because if you are if you do 5313, then this stretch is really wide big, it's possible, but your needs big hats, it's easier from two to five, from the a to the C. So try this several times. Finger to figure five. Okay? So that's from f back to c. Now you have to go from c also do g. So that's, let me see, that's measure from measure seven to eight if I'm wrong. So what you do is this 5313133? It's been the same as if you were going to the f. Only you do finger one on the G instead of on the F. So it's a bit the same movement that tried it several times. So due to two measures of G and to go back, you use again finger to its quite a low stretch. It's longer than from F because we were on the, on the a and B. So that's even longer, but should be possible. If it is not possible, that leave a little gap doesn't matter. So I would say how so? Practice several times going from C to G, and practice several times to go from G. Figure two, vector, Missy, et cetera. Okay, when you practice all that, so going from C to F, from C to G, from F back to C, from G back to C, that the whole blues progression. So that meets measure one. Measure to measure three. Measure for a child. Let's measure five. F6 now are charged finger to route to G0. Vector c finger to. And that was the whole goes. Okay, of course, it's nicer to practice, practice that with the play along track. So let me put that on that meet play along with that, play along track. There we go. And then your router starts and okay, i will not continue. You've got the picture. Let me put this off. So practice that several times still you really get this left hand, right? Left-hand, right? That's funny. Okay. When you have done that, do it together with the right hand. So you can play root positions. But I think once you know the inversions, are you practice them well into former lesson, you can go do a directly with some inversions. So add a new round. Okay, yo do that of course, with the practice file. Okay, so a lot to practice. I mean, this is, if you are really a beginner, Well, it's not so easy. It's quite challenging, I think. When you have done my piano course for beginners. And then, yeah, you're perhaps a little bit, you'll pick it up a little bit quicker because you have some more skills in left, right hand, playing left, left and right-hand independently. But if you're a beginner, yes, it's not easy. So take your time to practice as well and use, of course, the play along track. By the way, the play along track, you can use exactly the same pale play along track that you've downloaded into four former lecture. Ok, practice, practice, practice, wish you lots of success. And I see you in the next lecture. 23. Musical notation - Note duration: Okay, so I hope it went well with the last lecture with the left hand bass better, which is not easy. So if you cannot play it, don't leave without mistakes, it's no problem. I will now introduce the beginnings of musical notation. So we started already a little bit, some lessons before when I talked about measures and beats. We sold that you can write notes. And in-between the lines of a musical staff, which I, which are those five horizontal, horizontal lines. And we learned that you have several time signatures and that we will for now do od four quarter time signature. The easiest and most common type time signature. Now what we will do does lesson is look at what kind of note durations we have and how to put it in the musical staff. But we're actually not using the stat for now because we're only looking at note duration. So for now, I will leave the five lines away, but I will measure so to little vertical bars. And I would, I will put that time signature, as you can see for the following few measures that I displayed here. Now in these lecture about measures and beats. I already talked about note Eurasian. I said you can have notes that go with the beat. You couldn't have notes that goes twice as fast or four times as fast or even triplets. You can have other note Eurasians. You can have no curations that are two beats long, four beats long. Well, you can actually have old note durations, plausible. In this lesson, I will talk about whole notes, half notes, quarter notes, and eighth notes. And that will start with a whole note. Whole note fails one whole measure of four quarter time signature, so that's four beats as we learned before, a fourt quarter time signature is so that you have four beats per measure. Now you can have a note that's lasts for four beats. Well, that note is a whole note and we write it as follows. So you see that you're going to have one whole note in one hole measure and done. The measure is filled with only this whole note because there's no more space for other notes since it's four beats long. The next note curation we will look at is that a half note? A half note is two beats long, and we write it as follows. Now as you can see, you can have two of them in one measure, which is normal because two beats plus two beats is four beats in one measure is four beats. The next note duration is that of a quarter note. Quarter note is one-quarter of a whole note. So that means that's exactly one beat lung. And you can see that you can have four of them in one measure. Now, of course you don't need to always four of them. You can have a combination of, well, let's say two quarter notes and a half note. Because that's two times one beat plus two beats is four beats and that's one whole measure. Okay, So in order for you to understand how these note durations work, let me just play this rhythm that I just wrote down in those four measures. I will play only the c. It's not important here. What's the pitch of the note is it's about to denote duration. So, so I will let the metronome click four times before we start. And Dimetrodon oat milk continue during those whole for measure so that you can follow it and count with it. So here it comes. Okay, I think it wasn't so very difficult to follow. If you couldn't follow it totally, then just go back and play it 100 times. After whole note, half note, quarter note. We also have eighth notes. Well, eighth notes have a duration that is half of that of a quarter note. So a quarter note was one beat, so an eighth note is half a beat. So you can have 2 eighth notes in one beat. So you could have, for example, 8 eighth notes in one measure. But of course you can have a combination, adorno durations that make up one whole measure, like for example, this one, you see a half note, a quarter note, and two H nodes. A half-note is two beats. The quarter note is one beat and did 2 eighth notes together are also 1-bit so together that makes four beats, or does one quarter note to eighth notes, and again, a quarter note into eighth notes, that's one beat. The 2 eighth notes are also one beats. The quarter note gets one beat until the 2 eighth notes are again one beat. So together, four beats, it's a whole measure. Now, let me go one step further. For example, how would I notate a note duration of three beats? Well, I could, for example, take a half-note that's two beats, and a quarter note gets one beat and tie them together with this curved line. This makes together three beats. Now, to be honest, we also have an other methods of notating three beats. Just take a half note and put it dots behind it. Adults behind a note makes it 50% longer, or 1.5 time the original node value. So half-note is two beats and 50% more is one beat more. So together it's three beats. Now, here I show it with a half note. You could also do it with a quarter note and it makes 1.5 beat. You could even do it with an eighth note, but let's limit ourselves now to only a half note with adults. So three beats, we will see the other note durations where we put a dot after denote later. Now let me assume that I want a note with a duration of three beats, but that starts on beat three of a measure. Now in that case, I may not use a half note with a dot, because the half note with a dot is, as we have learned, three beats, but after two beats or measure is over and we go to the next measure. Well, in that case, I need my very first methods that I showed you. I need to show a half note into first measure and a quarter note in the second measure and tie them together with this curved line. So when a note sounds over the bar line, you notate it with a curved line. Now, let me give you some examples of rhythms we can make an, actually those examples that I gave you, we will use them in the next lecture. Because in the next lecture, we're going to play a little melody with our right-hand. So those examples are very important as, as I said, we're going to use them in our next lecture. So the first example is this one. You see a half note with a dot. So that's three counts, 2 eighth notes. And the next measure, we see a whole note. So when we play that done, it sounds as follows. What shouted? There's four counts of the metronome before it starts. Ok, we're now making a little adjustment to this last example because I actually want that this last eighth note in the first bar is tight to the whole note in the second bar as follows. So listen again to dissemble. Okay, so you heard that both notes, eighth notes over the first measure and the whole note in the second measure wear tights together, they sound as one note. Let's go to the next example. You see a half-note, then 4 eighth notes. And in the next measure, a whole note. And you see also that the last eighth note is again tied together with the whole note in the second measure. Let's listen to that one. Okay, next example, you see a half note, quarter note to eighth notes. And in the next measure, a whole note. And again, the last eighth notes is tied together with a whole note of the next measure. Let's listen. Okay, I will let you here now a four measure assemble. You'll see it here written out. What shout three times. You see that the last note of the former measure is linked together with the next note in the next measure. So let's listen to this example. Ok, one more, shorter example, only one bar. Let's listen. Okay, that one was not very difficult, but watch out AUC that, that eighth note is tied together with the half-note. Okay, one last example. Two measures long. Here's comes. Okay, that's it for now. Be sure that you understand all the examples because we are, as I said before, we're going to use them in the next lecture. So see you in the next lecture. 24. Basic blues with right hand melody - I: In this lesson, we will add for the first time, a melody in your right hand. Now, I will, in a while, I'll let you hear the final results. And that will do that first with the play along track. And that's the same play along track as we use the whole time in the last few lectures. So you can just use the same play along check. And later I will just play it solo without play along track, you can use both ways. But to practice is of course, a good way to use the play along track because Dan, you have the rhythm, you don't need a metronome. While practicing. It's DO good to sometimes use the metronome. Before I let you hear this this June, I will first say one thing. Normally, you were used at the central Dam. The Middle C was here to hear sounds lower down the middle seat, what I actually did was transpose the whole thing in octave up. So here is now our middle C. That means that why did I do that? Because I will need to go lower than C0, which was first here. Then go here and you wouldn't see it. So be aware that this is now. It'll see. Okay, I've talked already too much. I will hit let you hear the tune first with the play along track, and there we go. So it is up to five stars, but I will put it off now because I just wanted you to hear it later. I will play the three rounds, stitch the play along track. But as I said, you can also play it solo. And then a new route, et cetera. Ok, so let's start. We will first start with already know melody. Now, if you studied well the rhythms that we did in the last lesson, then it shouldn't be a 2-bit problem. So the only thing, the only difference is of course, that with the rhythm, we now add different notes, so different pitches. So remember these, this rhythm that we did, I will now do it with pitch and the metronome. So a four cards, 1234. So those are the first two bar. So the notes are very simple. It's just C, E, and G. So when I count 12341234, so C is three counts long. And then the you, you, you, you start those notes on the form of the first measure at the end of four of steel, this hit first measure and in the second measure, you hold it. Now, I notate it above the virtual keyboard as you see with the rhythm as we learned it. And I will put denotes, I put it in notes as you see under the rhythm. Now, I do it in a way that I put higher notes, also a little bit higher up civic. You also have a little earlier, a sort of visual, a quick visual connection with the notes so that you can quickly see how high to notice this is, of course not a very accurate description of the note height, but we will do that later when we will notated in Notes on a staff. But for now, I think this is a good way to notate denotes so that you have a quick understanding of which notes they are until your rhythm. Okay, i will repeat this first line. So I will not do it a left-hand for now. So 123412341234. And I would advise you to do the same thing. So really to do this 1234 and then 1234 again for the second measure. So make sure that you do this on the fore end. That's the first two lines. Then the second two lines are I will just first play it too, 34. So when I count with it, that's 1234. And I should also say that three and so once more to three, sorry, 1234234. So 1234. 1234. Now you see that under one of the next measure, you still hold that. Gee, you don't play it again because there's this curved line, curved line, the tie, which ties this eighth note with this whole notes together. So again, 12341234. Okay, practice, dose two lines. Then when you can play them well, play with the metronome. First enlightened second line together. So I didn't talk about dare finger positions. For the c, g, just use fingers 135. And for the second line, I would use just a DOS three fingers on those three nodes. So that's 55 to one. And I said it's quite simple Dose, three fingers. And those three fingers. The difference is that here I don't use my middle finger, but rather my index finger. I could use this, but I think it's simpler to do this with the index finger. Okay, those are the first two lines, which is actually, I should say the first four bars which I normally display in the first line of the blues. So I should say the first Lang, the whole first lambda, first, first 4 measures. So let's move to the next line, which I will split again in smaller parts. Then you go with finger five on the F. So what do we do is 1234. So it's a bit the same rhythmical shape as this first measure in the first line. So that's nothing new. 123412. But this note is only two counts. So you do 123412 and then comes the new node, which is an a, which is only one count. So let me go from the beginning. So from the F, 12341234123. So you see, it's all little bit the same arithmetic or shape only that you have this one quarter note here. So let me just repeat it from the F One, 2341234, etcetera. So watch out for it is extra quarter note here. Played ones more without counting, but I will. Clap my hands on the knee. 1234 is this one is three counts. This G. So let me go from the beginning. 1234234. So the whole time a little bit, the same shape at the end of the measure is always four and so the whole line, so the whole second line of the blues, so thats the measure 5678. There we go. 12341234123412341234. So try that yourself. Yeah, for the finger positions I use here, five. And then I change next time for finger two. Otherwise I cannot go to G. And okay. Here is a little gaps, but it doesn't matter where those lines are, are quite long. I mean that it doesn't, nodes are quite long, so denote or already almost fades out. So again, you can leave a gap that's no problem at all. So five. And then you can use 3-5. So again, the whole line. Watch Well, OK. Well, you should repeated several times while I click my knee, but you can use your metronome with course. Let's do line one and line two together. So the first eight measures, there we go. Okay, let's go to the last four measures of this blues. It's as follows. I will first play this hole for four bars. Okay, the first two measures are exactly the same. So they are as follows. 1234123, sorry, 12312, sorry, that's it. 1234. So 1234, and that's twice. So again, let let me pay the whole two measures. This audits measure 910 of the Blues, One, 23412341234. And I tried it also. So you use those three fingers as if you had, if you would have the G Major triad in first inversion. Root position, second inversion, first inversion. So that's thumb, index finger, or pinky, one to five. So again, those are measures 910. So the first two measures of this third line of the blues, and then the last two measures. So that's 1234. Again, 12341234. Okay. Let me play the whole melody for you and be sure that you can also play it well before we go on with the rest. Okay, there we go. Okay, practice that well, in the next lessons, we will work also with the left hand. So be sure that you can play the melody with the metronome, but you can of course, also use the play along track. It's actually nicer. Let me quickly played with the play along track so you can see how you should play that. And you can worse and continue the next round. But I'll stop here now because up it's just to show you how to do it, ok, brick as well. And then I see you in the next lecture. 25. Basic blues with right hand melody - II: So I hope you can play the melody because we're now concentrating not only on the melody but also on the left hand. But we will start very slowly. You know, that finally, we will do this, which is exactly the same baseline as we learned before. So you know the baseline already, but we will do that later. We will start first symbol because it's very important to have this left, right hand coordination, right? And that's not so easy. Especially not with a melody. Or you have to do two independent things in left, left, and right. So let's build it up slowly. What we're going to do now is first, add only the base note. So the C, D, F, or the G in the left-hand. The melody, I suppose you know what now, you can play it with a metronome. You can play it with the play along track. So be sure that you really know it before going on. Okay, little mistake is, is OK but more or less, you should know how to play it. Okay? What will we do? We will first only just to simply. So as I said, Z, F, and G. So let me just play it. So you heard that every time on the one. So on beat one of each measure, I played the root note of the chord. So either C, F, or G. So let me split it up in pieces. So let me just start with the first two measures. So that's 1234123412341234. That's I should do it a little bit slower. 1234. For now, I want you to pay attention to this four and this shaper 1234. And so don't do this for your, Well, I think some of you will want to put this together when I first started this g, But it's a little bit later. It's, it's an eighth note later. So again, 12341234. Be sure that you can do this. 414 and there are three different moments where you first statute note 12341. Ok, so practice that several times. 1234, 1234. And then you go 11 as how does art together, 12341234. So be sure that you do 341. So again, don't play the C and the G at the same time. Bar 2341234. So let me do the home. First line, 1234123412341234. Let's go to this second line. So we play the f. Now, beginning, I would do it simply. So Pinky under C, middle finger on the F and what is its thumb on the G. But later it's actually better that you move with your head because we're going to play the actually the court had to try it in a broken form, an arpeggiated wage. You can say arpeggiating at art, broken courts, that's the same. And then you will need to do it here and here. So you will have to move your hands. But for now, to keep it simple, just use Dose three fingers. So as I said, we go to line two or are we okay? Yep. So again, 12, 34, and it's exactly the same shape for 12341234. And I get four, and let me do those first two measures again. 12341234, add one. Okay? This is really a little bit more difficult because you have also this count three, this extract quarter notes. So let me do it slowly for you. You do it, of course, with the metronome, but I will count with it as if I were the metronome for you, 123412341. And you have already the first beat of the measure in this line. So I will play it and I will continue in the third measure, 123423412341234. And so does last two measures is exactly the shape that we do the whole time. It's this 12341234. So the same shape. I will do this whole second line. So it measures 5678, again, 1234123412341234. Okay. So breakfast that well, right. And count in your head. You could also count out loud, but it's not always easy. So if you cannot do that, it's no problem. Let's move to that third line. So measures 9101112. So we move to the G. Those are the first two measures. It's actually quite simple because you start always on the one. Of course, the other bass note always starts on one, But also the right-hand starts always on the, on the one. So that's not so difficult. So it's 12 and sorry, 123 for 1234. Or we tried several times. But as I said, this is not a very difficult one. So let's move to the last two measures. So that's 12341234 will do it slower. 12341234, HRSA. So be sure that SO 341. So the C and this C, the high ceiling Lozi or knots together. 2341234. Let me do the whole last line. 1234123412341234. Okay, so try that out and then play the whole blues like this. Take your metronome. You can do it as slow as you want to start and slightly increase the tempo as always, I would always start slow. When you have done that, it should be when you master this should be good when you try to use always your pinky on the one. So to jump SRE, do this. Sorry, let me do it over. So you have to make the jump with your hand. It will not be easy in the beginning, but it's good to feel where the nodes are. Even. Without looking at a keyboard, it would be nice if you could do that. I would say for now, it's enough to practice with. And in the next lesson, we will slightly go towards playing the melody in your right hand with this nice baseline that we learned before in your left hand. So, see you in the next lecture. 26. Basic blues with right hand melody - IIIa: Okay, are you ready for the final version where we where we will play with the left-hand, our baseline and with the right hand, the melody. And say it's not so very easy. But if you've done the former lectures and you've practiced well, then it shouldn't be a big problem. So I actually like this, etcetera. But we will first, before we go to this final version, make one extra step. What we will do is I will first let you play just the bass notes, but not as we did in last lecture. We will play the on every beat. And later of course the f and the g. Okay, let's try that. So the first line would be then as follows. So let's try that first, the first, the first two measures. As always, it's as if you were counting, but not with your voice, but with your left hand. So I will now count with it, but you don't have to. You can just use both heads for so dry that several times. 34 will not count with it now. Dried it several times and then go to the second line. I will start with the second, third, and the fourth bar. I will start with the first and then go slightly onto the third fourth bar. Yes. Or you saw what I did in the third and the fourth bar? And yeah, if you find it difficult, you can also try it to clip on your knees. And I so this would then be lipid-like this. Right? If you wanted to concentrate just on what you are left and right-hand should do without concentrating on the nodes, you can do that one. So SRA run. 2341234, had tried it several times, 12341234, and then try it on the piano. And 234. And then again measure 3441234. So you can do that also on your on your knee. 123412, 34 again, 12341234. And we can when you can clap that on your knees, then you do it on the piano. And 234. Okay, let's move to the second line. So measures 5678, and we go to the F If you find it difficult to move, also with your hands, you can again use three fingers, so allow the the index finger on the, if you find that it's more easy. First, that shape. It's exactly the same, of course, as the first two measures in the first line, 123, et cetera. Ok, let me also do the second measure with it. 1234. And adult forgets to go from the alphabet through to see in the third measure of the second line. So tried it several times. Not easy. 1234 ads to try that several times. So you can also click on your knee. Then you don't have to concentrate on this. Changing the ym, the nodes nor in left-hand or right-hand. So then you have 123412341 or more died one, sorry, 12341, 2341. And when you cannot do that on the piano then three, sorry, I forget to think that we should do it on every beat. 1231234, ads, like counting went wrong. So let me do it again. 124 by three. 2341234 odd this measure 34 is the same shape as we do it the whole time. So again, it tried to whole line, Dad do first two lines together, will do it without counting now. So look well. And then we move to the third line. Don't forget that you have to pay the geno. Same thing. So the first two measures of the third line are the same as always. So you can also do it on your knee. And now I do it wrong. I see it. It's not so easy. I find it easier on the piano then all my needs. But it's good for your health care coordination to do that. Alright, so again, I'd done the last two measures, or you could do. So 12 341234 dot on the piano. Bar, four bar. To try that several times. For n 1234, sorted out a whole third line. So measures 9101112. Okay? When you play that, I played on the whole blows like this. And when you have this coordination between left and right hand, we shoot slightly start to make this line. Perhaps I should go one more time over this line with you, even if we have done it before, especially for the finger positions. So for the C, Try it we use in the beginning 53 time for types that watch out when we go to the Africa with path on the f, three of the a, one of the c and add because you've got as normally, but then we used finger to Heidi went back to the C. So practice again, if you forgot how we did it before, from, let's say the fourth measure of c. So the last measure of C2 DEF while for me 1313121, etcetera. You get again twice. What shot up to the G? 1313? Not one, but there's yes, 1313 and the second time, 5312. And back to receive five older C. So let me do the second line, the last two measures of C, and then I go back today and that I go to the G. So we have figure one, all the 313531 and then two, back to deceive. Okay. I hope you remember it. It's good. Baseline. Saudis wasn't quick reminder. 27. Basic blues with right hand melody - IIIb: Yes, and now we have to play them hence together. So there we go. So the first two measures. First, let's concentrate only on those first two measures when you can play them well, then the rest will be easier because as you know, we have this shape often. So 1234. So practice this several times and slowed down as slowly as possible so that you still can play it in a steady way without making mistakes. Yeah, you can go very slowly for three. For another. Slightly speeded up for 34 slices, speeded up even more. Three for these last time was even faster than the play along track. So you don't have to go that fast, but just to show you that you can speed it up slightly. Ok. So when you can play that, go to the next two measures. So three fourths, I'm tired it several times slower DOM, as, as much as you need to run 234. And if it's still possible for you to do, then just take those last two beat of this measure so that it's tried several times. And then linkage to the next node. And then try it with the first two beats of that measure. And then try to hold two measures. Also slightly build adopt for do it piece by piece. Okay, let me play it a whole first-line. Gi social, bring it up in pieces. Take out even a part of a measure if it's not, if you cannot do it right the first time. And that try several times, all the debts Bart for slowly doesn't go Quaker and then make, take bigger parts and until you can play the whole line. Let me go to the second line. Remember that when we come from this last measure, we have to think of two things to go. With. Finger five, toDF at finger one on DF, Sorry. Move with your middle finger over your thumb today. So that's perhaps a bit difficult. But you can also say, okay, I will first just do this second line and a later make the link. So let's move to the second line. But we start with 301. And here finger five. Tried it several times. The shape is the same as in many measures. Read it first measure of the blue. So I don't have to explain that anymore. Note to fingering is very important. You start with figure one, figure five, Figure two, ok, so this is quite a lot of things that are happening at the same time, so that's not easy. So as always, break it up in pieces. First is first measure. Just tried several times. Once again. And then RWA. And then don't forget, finger to adhere. You had to change. Your were blended with your first with your thumb on the a and then you had to go with failure to a. Ok. But if you practice does well in forward less lessons, you should have this already in your fingers. So let me do this. First two measures again. We start with the thump on the F figure to hear finger Joel, the left-hand list. Left-hand. Sorry. We go well, that's the same shape. You can Chai several times, but it's exactly the same shape so it shouldn't be too difficult. Let's do the whole first lie. But just a little bit slower. Okay, so this is not easy, but when you break it up in pieces and you practice it's peace for peace and done all the pieces together, it should go. Then when we arrive at this last measure, sort of measure of the second line, which is the ninth measure of the whole blues. So did this dot, dot, dot will have to go to the G part. But we start of course, with our finger one on the G. We take fingers too on the GI. Go with our middle finger over to thump, are configured to hear. So try it at several times. So figure one here for you to hear. Figure to try several times that you can speed it up. And that we got it to the last two measures of the blues. You have to make this stretch with your hand as you know, both five. So that is 12341234. You can slow it down as much as you want. But try it several times. And again. Then try the whole third line. Okay, that's the whole blues. Now, let's try to play it from the beginning. Okay? Now, this is quite a lot. So try to play it over and over until we played well done. Of course, we have to play it with the play along track. So let's try that. I will do it only for one round knew now. So after that I will stop it, et cetera. So you have a lot to practice, I think. And for the next lecture, we're going to add one little extra thing. We are going to link two rounds of the blues. When you play with the play along track, we're going to link them together with a very nice turnaround. So, see you in the next lecture. 28. Basic blues with turn around at the end: Okay, I will go one very little step further. And that's I will make it turn around. Now, what's a turnaround? Turnaround? We play at the end of the blues to indicate the end and to prepare for the beginning of a new round. So it's not on the ends when you stop the song, but when you go to a new round, let me go to the last two measures. So off the third line. So really the last two measures of the blues, It's this. We played this. But we will change this baseline in left-hand For the last measure. So the before last measure was not like go with one on beat, one on some sort of finger, one to thump on the sea. And I do. Instead of playing, I play, sorry, let me play that again. The last two measures figure 1432, also, C, G, a, B. And now we go back to the beginning. Play. You get a C. It's the very first beat of the measure of the Blues. Which means that we have to do again to be with our head, with the pinky or the sea. So that would be the last two measures. And here we go again to the beginning of the blues. So the last two measures, the left-hand would be. For that we go back to the beginning of the book. Okay? Now, it's quite difficult if you cannot play, it's not, not a problem, but if you want, you can do it. I will play the whole blues three times with this turn around. No, no. Good. Okay, so that was a three rounds to see. At the end, I just stopped. I didn't play the turn around anymore. I played. I stopped. It could eventually also played this. That's also nice. Sort of. You roll this last course, this C major chord in first inversion. Yes. The play along track does a little bit more. It goes on with some out draw, but you don't have to play that. Ok. So that's it. That's the whole blues with the right-hand, with the soda right hand melody with the left-hand baseline and with the turn around. So that's quite a lot. And again, yeah, if you don't play everything totally right without mistake, it doesn't matter. You can just go on, of course, with the rest of the course, so hope you liked it. And I see you in the next lecture. 29. Triplets - Play triplets in the basic blues: Okay, so some lessons ago we have spoken about note duration and we have seen a whole notes which are four beats. When we're speaking of a four quarter time signature, which we are the whole time. We've seen a whole notes, as I said, four beats, half notes, which are two beads, quarter notes which are one beat, and eight notes which aren't half a beat. And I remind you that those eighth notes, so if the beats goes like this, It's like 1234. And so every beat has 2 eighth notes. Now in this lesson, we're going to talk about triplets. Now, in a triplet, you'll have several sorts of triplets. You can have triplets with a total duration of one beat, but also of a total duration of, well know, have beat two beats. We are only talking about triplets with a total duration of one beat. So a quarter note added the total duration of our triplets. The triplets that we are going to see in this lecture is that of a quarter note of one beats. So actually when the metronomes goals like 1234, you would have 123123123123123123. So 33 notes in one beat. So I would say traded herself, puts the metronome on a clip Mellon my knee, but you use your metronome. So put it on a low tempo. You can put it on 60 beats per minute or whatever is good for you. What fits for you? Then? 1234. So try that during some time. It's not a very difficult, of course you can after it has also dry hole triads to play that with, with triplets. So 1234, tidy. So try it out a little bit, play little bit with the several inversions. You can do this. So try to play those triplets just to have the feeling of how triplets or plate. Now, the way we count triplets, remember, with eighth notes we said 123412. Et cetera, with triplets, you could say drip, drip, oh, let clipboard, let trip or lead. That's that's et cetera. Ok, so how do we notate a triplets? We know what's already for whole notes, half notes, quarter notes, and eighth notes, a triplet. We can notate it as follows. You see 3 eighth notes that are beamed together and you put a little three above it. Now is beamed together. You can actually also do it with eighth notes. I didn't talk about that before. If you have eight note, so it's now not about triplets, but if you have normal straight eighth notes and two of them together, you can notate it as two beamed eighth notes. You can also be more together for eighth notes or even more. We call it beamed notes. So you can notate eighth notes also in good way, this way. But triplets, we noted, notate it with beamed notes with the three above it. So that's the notation of triplets. We're going to practice null with the triplets with blues. And you can do the basic blues, but you cannot use the basic blues play along file that we used before because that has a straight rhythm and that would clash with the triplets. So you need the play along track that is with this lecture and that's basic blues shuffle. Now, what shuffled means? I'll explain that in the next lecture. But anyway, you need that file. And we're going to play this. I will put it on and have a look. Okay. I will put it off. I play only one round. So what did I do? I played for every beat three times the courts oat in triplets. So 12341234. So that was two measures that you need for measures of c, As you know, after that, two measures of F, I choose for this inversion, but you can also do this one. It's up to you. So 12341234, vector C 341234, and G 2341234 and back to c. And I choose to put, to play the last bar of the blues just as one whole note. So did try its place, plate as a whole note, four beats to clearly indicate that it's the end of the blues. And then when you use the play along track, you can of course, choose to play it three times in a row. But defects that you ended with one whole note indicates clearly the end of one round and then you can go back to et cetera. So practice that. And then I see you in the next lecture. 30. Playing with swing feel: Now, in the last lecture, I already talked about this basic blues shuffled. It was this play along track that we used in the last lecture and we also will use in this lecture. Now, what's does this shuffle mean? Let me first, before explaining it, let me first here you the play along track that we used before. It's like it's as follows. Okay, I will stop it for now. You're probably here already that it sounds different than to play along track that we used in the last lecture. I will, I will let you here again on moment. I have to put the other check in and let you hear now the play along track with the shuffle. That's as follows. Okay, I'll still, but for now, you hear clearly the difference in rhythm. And so this second play along track that let you hear has the shuffle. We also call it swings fuel. And it sounds much more blues heat and we had before. So we have to straight blues which we played before. And so that means that if we have the metronome, that's the eighth notes are played as 1234 end at your hear, heard already that. Now it sounds more like I use here a difference. Straight eighth notes would be this. And shuffle. You hear every time when I play two notes that the first one sounds a little bit longer than the second one. Now this has everything to do with triplets. Because what we're actually doing, now you see the triplets here above the virtual piano. What we're actually doing is playing the first and the last note of a triplet. Look. I will do it's slower. So we played a trick and the lead, but not to dipper. So the middle note we take out actually, or it's actually better to say that the first note is played twice as long. Or you could actually say that the first note is like the first two notes into triplets, tights together. Only that you would rather write it like this. So that doesn't mean that you have a quarter note and an eighth note because that would be 1.5 beats. But together, this is one beat. So to quarter note is actually the trip in triplet only that it's only one note. And the eighth note is that, let's now and that is this swing feel or to shuffle in boos. We call it also shuffle. And it's very much used in blues and also in jazz. So actually what we're doing is playing eighth notes as Yeah, the first and the last note of a triplet. And even so that especially in jazz, but also sometimes in blues, we notate it just as eighth notes. But in the beginning of sheet music, we put dimension, swing, feel or shuffle, or we use this symbol. And when you see that in the beginning of sheet music, you know that eighth notes, when you see them in sheet music, that they have to be played with this swing fuel. So so dry it up, put on your metronome 1234 or sorry, et cetera. So that's the triplet feel, that's the shuffle. And we're going to play its notes that we notate them as normal eighth note. We don't. Sometimes you see it also notated as, as, as triplets. But as I said before, if you see that mention of HSO_4 or triplet feel or symbol that I showed you. Then even if you see eighth notes in the sheet music, you play them with this triplet feel. Now we're going to practice with this triplet feel. We can do that in several ways. Just what I mentioned before when you put on your metronome, you do this. So don't play it straight like this would be straight edge nodes, but play it as you can also play. Of course, Tracy. So try that with your metronome. We can of course, also use our play along track. What we're going to do is just play the triads with the play along track. So just do normal 12 measures as you're used to four times c2 times F2 times C, two measures of g and two measures of See, but now with the triplet fields, so play them as one. Sorry, 1234, second measure, two, for, third measure. For measure. Them. For 234. Well, you know what I mean? Let me put on the play along track and let me just play with it. So go ahead and add a new route. Actually, you could also do the last measure, just one whole notes to indicate the end of one round. That's up to you what you want. Okay? Do that with your right hand. We could also do a left-hand pattern. For now. Don't play them together. Concentrated just this triplet feel. But we could play, for example, first, very simply. That's 40 4C court at 4f Gort. And for the G chord, so play that along with the width, the play long-term you could eventually do it also has to get it. Why not? And 40 F and the G. And again, if you want other inversions, that's okay. As long as you play it with a triple fields. So the shuffle. But after you just tried this feeling, this shuffle, this triplets feeling with your left hand. We're going to play a little motif with our left hand, so little baseline. You could do like this. Actually arpeggiating the court. And 40 F coordinate would be for a G chord, of course, etcetera. In this case, you don't take inversion, so you always start with Bing Qie on the route. So you played always in root position because this is a baseline. So you want to do first note really took to play the root notes to accentuate that this is a C chord. And this is a court actually could blade even lowered. It's perhaps even nicer. So so when I played with the play along track, that would be like this. And I can choose to lay, whenever we put it out, I choose to play the last bar as a whole, but you can also are our motif, what you want. Now? Actually, I take it one little step further. Even nicer baseline, it will be like this. So instead of the last two notes playing, you play it just 40 F. Back to deceit, et cetera, and Ford a G. And actually, when you listen well to the play along track, the bass is playing exactly that motif. Note for all measures later at it. They also outer motifs, but they start with it. He just listened to the play along track. I will I will play it for you and you will hear the bass player explains exactly that. So listen to the bass. So you hear it, eta, it play. So try to play that baseline with your left hand over to whole bruce. When you're able, why not combine it with the triplets? This four to see gourd and this 4f court. Or you can play with your right hand to the inversion or DC inversion. Okay, tried it out. And in the next lecture, we're continuing with this triplets fuel. So see you in the next lecture. 31. Changing slightly the blues progression: So till now we have always used the basic blues progression. Now, I said before already that there are other blues progressions and little bit more advanced. Now, we're going to add one court to our blues progression, which is actually a coordinates that is already in a blues progression, but we will put it in a special place. So to make a little bit more advanced blues progression. So what did we have till now? We had four bars of C, two bars of F, again, two bars of C. Then we had two bars of G, and the last two bars, again C. Now, before we going on to tell what this change went into blues progression will become, let me first come back to this 145 courts. I hope you remember that. We have been talking about one courts for courts, and five chords. Now, to remind you, this is a Blues in C. So we can't see the one court because it's based on the first note of the C major scale. Since we're in C major, the F course. So to see quarters wasn't the one chord, the F chord. Or you can play it like this if you wanted to in an inversion. The F chord is based on the fourth note of C-Major scope, 1234. So that's why we call that the four chord. And then G, the G court, or another inversion, if you like, is then D5 court, because it's the fifth note in the scale of C Major. Now, why do I tell it? Why do we call it one chord, four chord, five chord, and not just see courts, F courts and G court. Actually, I should say, C major, F major and G-Major, but very often we leave it major out. We just say secret F and G chord. So why don't I just call it C chord, F and G chord? Why should I call it one chord, four chord, five chord? Well, that is because, because later we're not always playing a blues in C, but we can play a blues in another seasonality. For example, let me say a blues in f, then f is my one Ct. What's my four core to my five cores? Well, that's the fourth note in the F major scale and fixed note, any F-major scale. Well, what was F Major? I will play the F-major scale. So forth note was the B flat and the fifth note that c. So in a blues in F Major, F, the F courts will be, will be the one court. The B flat. We don't know it yet, but we will see that later will be the four chord. And the see, for example, in this inversion will be defined. Court. Now, I will not go to other tonalities for now, but I just wanted to show you why we call it one chord, four chord, five chord. Because I will show now above the virtual piano the blues progression. So you'll see till now what we have learned sort of basic blues progression, four times c two times f, two times c, two times g, and 2times C and I will put d one to four and to five chords in it. So there they are. Now, what are we going to do now? As I said, we will change one court, one bar. And that's when we have the two times g, The second time g, we will change it in an F. And that's the only change that we will make. So we have four bars of C, two bars of F, two bars of C. Now, one bar of g, one bar of f, And again two bars of c. So that's our new blues progression. So you should try to do a little bit how you should get used to to, to nu, nu blues progression. So you should try to play it four times. Two times the F chord. C chord. One time g, one time F, and two times C. Now, of course, it's nicer to practice that with a play along track. So you need, of course, another play along track because it's an, it's another blues progression. So you will find it, of course, in the resources. And we'll put it on and I will just play the courts with it. And I would advise you to do the same thing. Just very simply jazzy chords in any inversion you like. But just, just to get used to the sound of this blue. So played over and over until you get used to this corporation, to this new Corporation, which I repeat, it, is very simple because it's only one courts that has changed. So let me put it on and let me just play the courts with it. As usual, the play along track is three rounds, but I will only play around with it, but you can use all three rounds. Of course. There we go. Okay. Now when you round starts, but I will stop it. So you play it in the inversions you like. You do what you want. So played over and over until you get used to it, you can of course do all sort of Bayes knows with it. Lowered, it's actually nicer. Do it as you want with two hands or just with one hand, just to get used to this blues progression Add, I see you in the next lecture. 32. New Orleans-style bass line: So in this lecture we will on our new blues progression, make a baseline and a typical baseline, which is typical for New Orleans style blues. Let, let me just play it one time, just on the C chord. It sounds like this. That was two measures of C court. On the court we have a similar pattern. And on the G CT, also a similar pattern. So so let me tell you how to do it. First of all, you see that the notes that I play, so they're just denotes of the court of the C major chord. I'm just outlining the C major chord with those notes with an interesting rhythm. So, yeah, how to play it? Well, when we count it, but let me just do collect clip on my knee. You can use your metronome Of course. It's as follows. 12341234. So let me break it up in little pieces. The first note is just a quarter note, so one beat. But to Onto, We do. So that's actually what I do it in triplets, bar three. And so this is what ordered out. These are actually two h note, but plate with a triplet field. So it's not, it's not but three bar dot, triple bar, et cetera. And that's how you play the eighth notes with a triplet field. So quarter note, eighth note. Done again, a quarter note to eighth note. Again, blade in triplets view. So it's run Tip O LED three, JetBlue, let, or if you want, you can also say 1234 and, but be sure that you do to 23 and with a triplet, triplet feel. So not 1234 and, But 1234 and with a triplet feel, that's why it's perhaps better to say trip Paulette. What? Checkbook but three, lead. So try that. Try that yourself and try it over and over. Because when you know how to do this pattern in your left hand and you can play the whole blues hay for F. You just transpose it up to F, to G, to the g. For example. Tip three. And back through to see why tuple that three. Tip. Tip. Tip. Well that's it for the G, one, F, back to C, etcetera. Now, if this is difficult for you, remember the rhythm that we did before with the baseline, we did. Actually it's not so very far from this rhythm because if instead of this, the 2 eighth notes C, just play the quarter notes C, Then we get, and I did the GI, the triplets. Gee, I also made a quarter note that because before it was so does C and the G. I don't play the eighth notes, but just quarter notes. Then we got so you can try that a few times. Tip O, let y three, super. Let's now the only thing that you'd have to have to do. What you know how to play. This is instead of instead of two times e, c, e, c e. So while tuple that triple bar, I do wrong fingering here, it should do five at Year three on the eve of the G. So, so try that out at the beginning, it will be a bit difficult. But as I said, you can try to first do this rhythm. Sorry. And instead of the, you do see e. And then it should go. Let me play it with the play along track. One thing, when we have to jump from the c, d, f, you will have to make a little jump with your hand. Little jump. Back to the sea, little jump into G, little jump. Right back to the C, et cetera. So you have really to make this little jump, jumps with your left hand. That's why we are concentrating only on the left hand side is less than not on the right hand will be for later when you really mastered a left-hand. So let me now finally play it with the play along track. I played for one round only and I will stop it after that. And that's the next route level would adopt. So practice it over and over and be sure to have this really in your hands. And we can continue to make aligned with our right-hand together with this left-hand baseline. That's not easy. It's more advanced technique, but we will start very slowly. And so I see you in the next lecture. 33. Adding a melody in the right hand - I: Okay, I hope that you practiced well the left-hand baseline because it's very important. Now, in this lesson because we're going to add a right-hand melody. So be sure that this goes almost automatically this left-hand baseline. Let me just play what I'm planning to do this lesson. Just the final result, 1234, and then a new route. Okay, so yeah, it's a lot of left right hand coordination, so it will not be very easy. Now, debts, especially if you're a beginner. It say, it's quite difficult, quite challenging. If you cannot make it, doesn't matter. Just skip it and skip the next lecture and then go to the next song that we're going to do. If you're a little bit more advanced level, I don't think that it should be a very big problem than you're already a bit more used to left, right-hand coordination. So what am I playing actually? So the right hand, I will play it now with a left-hand, but pay attention to the right, to the right hand now. So that's the first two measures. So I play just EEG and ISI. So it gets very simple. Just with those three fingers. 3531. That's simple, but the rhythm, how was that going? Let me count with it. Actually, what you're doing is drip alert and then you hold it for the whole measure. So on the one, you start with a triple, let what, 234, and then on the new measure, exactly the same tempo. 234 and so on. 23434. Yeah, if you, if you want to write it with notes so to rhythm than the first two notes. Yeah, you can write it as eighth notes, but with triplet field. So it is, it is the LED. So that's our 2 eighth notes. But as you know, you have to hold it 34. So actually d 2 eighth notes. Jetblue is exactly one beat. So there are three more beats in a measure. And during those three more beats, you have to hold to denote. So I will put the three notes now here above the virtual piano in the notation. Remember that's within half note with a dot. And the only thing is that I have to link the last note of the, of the, of the eighth note. I have to link it with those three beats and then I have Jaipur led to three for the second measure, it's exactly the same rhythm, tuple 234. So that's the first measures. Following two measures. That's as follows. Tuple, tuple, tuple, triple mud. And in the last measure it's just one whole notes, so four beats. So it's four times 2 eighth notes, where at each time need to eighth notes are played with a triplet field. So let's drip. Drip. That just denotes EEG. That's simple. To lead, lead, lead, lead 1234, right? Try those four bars. First four bars. I should actually counted the 2.3.4 also. So 23412341234, right? That's the first four bars. They all go together with Ford bars of C major chord. Then the next line, two bars of f. It's exactly the same rhythm, so the rhythm, we'll stay the same. So I don't have to explain that only denotes change because we're now in the F major chord. Well, as with the C major chord, we did it with the third note of the C major scale. We call it the third and the fifth note of the C major scale, we call it the fifth, will do that. We will do that with the f part where we play the F chord. Also we played third and defense of the F-Major scope scale. So it will be defer led to 342234. So exactly the same thing as in C, only transposed to F. So K c, F triple led to 34234. So that's the first two measures of the second line. And then we have two measures of C. And we do exactly the same thing as the last two measures of the first line. So that's 1234. It's the same rhythm, it's the same notes. It's exactly the same thing. So let's play the whole second line. So starting on the two F courts to 234. 2341234. Okay, then play all the 8 first measure. So the first two lines of the blues, so taper led to 3423412341234234. Let's let's let's jump a level 1234. Let's move to the last line. So the last four bars of one round of the blues. So it's the courts G, F, And then two measures of C. Let's start with the g. It's exactly the same thing as the first measure of the CRT F, But then in G. So what are the third fifth of g? Well, 12345, those are the first five notes of the G-Major scale. So this is the third, the fifth, and so we play it but 234, and it's everything replay into G CT. Remember, we're now getting to the escort. So we played to the G chord that was taper led to 34. And on the escort we play tip or let a f. So also tip and that's 234. So again those two measures to 2341234 and the whole time to same rhythm. And then the last two bars, which are again toolbars of C. Again the same thing as the last two bars of the first line in the last two bars up to the second plane, exactly the same. Bed. Nets. 1234. Okay. So the whole last line, 23422341234. Okay, after doubts, you play that hole, one hole around of the blues, so sorry, chip and that's 2341234. Will lead people met 12342234, tiptoe led 2341234, taper led to 34 tip or lead 2341234. So that's the whole right-hand part. Now. We have to play both hands together. Let me do that first measure. So actually the where the movement is in the right hand. The left hand is just on the sea. And once this is over, then the left-hand starts to do. Also, you're not doing two things at the same time, so that's not too difficult. So actually it's ten. And then you do the triplet here, out three. And again, AAA. So sorry. Not three odds, difficult current tempo bed. Okay, that was it. Three tuple that. I hope you understand that. And the second measure, not three, triple that. So some tried it several times. You can count in your head the whole time chip and let it drip, drip, drip bowl that. You can even continue to count. Triplet in the third beat where there's nothing happening. It's perhaps easier to bom bone. Bom, bom, bom, that's dry that several times. Then the last two measures of the first line. Now, this is perhaps a little bit difficult because you have triplets going on into left-hand and right-hand, but you're also have quarter notes in the left hand. So the first beat is in the right hands, but just a coordinating left-hand. Then you have two triplets in the left and right. And so you can do. So when I do the first two beats, that tried it several times, just the first two beats. And you can add the fourth beat. And the fourth beat is again, just a quarter note with the left hand and a triplet with her right hand. So you get tried it several times. And then you add the fourth beat, which is again left and right hands together. Both triplets. So try that all four beats. You can slow it down. And then the fourth, the fourth measure, alright, so the last two measures, what did I do? So let me play the whole first line. And It's difficult to dense lower down that blue balls. But wow, 23. For C, I also make mistakes, especially when I have to count, count out loud. Gi it several times. Once you get this rhythm, then the next lines are not difficult anymore because the arithmetic exactly the same. So we're going to the f, which is measure five. So the second line. And actually it's the same thing as with the C-hat. Only transpose to the F. So the rhythm is exactly the same, just denotes are different. So as long as you can play the whole c part, then you can actually play the whole blues. And then you go back to this, which is exactly the same as the last two measures of the first line. Then you have the G part, only one measure. That's all right. And then the part that shouldn't be too difficult because the rhythm is the whole time, the same thing. And yeah, that's almost o, because the last two measures are exactly the same for all three lines. So that's all, that's everything there is. So when you can play that W12, which with the play along track, you can use the same play along track as last lecture of course. So let me play it with the play along track. There we go, et cetera. And that's one round. I will stop it for now. So practice that over and over. And in the next lecture, we're going to add a little bit to the line into right-hand. And to be honest, it's even a little bit more difficult rhythm rhythmically. So I would say only when you're, when you can play this. Then move to the next lecture. Because as I said, it's a little bit more challenging. So see you in the next lecture. 35. Musical notation - The treble clef: As you know, the musical notes are written on and in-between five horizontal lines that we call the staff. In the beginning of the staff, you can find either a treble clef or a bass clef. Generally speaking, you can say that the treble clef is for the right hand on the piano, and the bass clef is further left-hand. So let's start with the treble clef. So the right hand, we can place notes on and in-between the lines on the staff. The first note on the lowest line on this stuff is an E. The next note in between the lowest line of the staff and the next line is the F. On the second line is the G. In this way, we go on placing the notes on the staff. So here we get the a, the B, the C, The D, V, E. Now one octave higher than the e We started with under lowest line on this stuff. And finally, the EFF. And here is our completed picture of all the notes you can put on an in-between the lines of the stuff in the treble clef. You'll see that the notes represented on an in-between the five lines on the staff or the white notes on the piano keyboard. The lowest noted as picture is the E, just at the right of the middle, C on the piano. All the other white notes follow up till the F, a bit more than an octave higher. An easy way to remember the place of the notes in-between the lines in the treble clef is that the notes between the lines make the word face. From those face notes. It's easy to find the other notes. So the ones that are on lines. Okay, now how do we display the Middle C? Because when E is on the lowest of the five horizontal lines, the C is even to white notes lower. Okay, let's start to put the d, the white note just left of the E. Well that's simple. Just put it under the lowest line, like this. Now what about this? See, we miss an extra line under our lowest line. Well, let's make it then just on the place where we need the C. Now we call this small extra line a ledger line. And on that line we can now put RC simple, isn't it? In the same way, we can add notes at the top of the staff. So the note on the top line of the staff is the F, and the next note will be the g. Now we can add a ledger line where we can place the a. So now we have the following set of notes on the staff with a treble clef, almost two octaves. It's possible to go even further down by placing more ledger lines, like in this example. Now what note is this? Well, let's have a look. This would be the middle C, as you saw before. So let's go down the ledger lines now. One note down from c is b, then a, then G, F, E, D, and finally C. This C is an octave lower than the middle C. You can do the same thing at the top of the staff. So for example, what note is this? Well, when the note on the top line of the staff is enough, just go up in steps. Let's see if you can find it yourself. I will wait for some seconds. Okay. Did you find it? This note is an E. Now, it's not so easy to read notes quickly when you have lots of ledger lines on top or at the bottom of this stuff. In practice, two or maximum three ledger lines are acceptable for a quick reading of the notes. More ledger lines already gets quite difficult, but sometimes it happens. By the way. There are other ways of displaying high notes that are far above this staff lines, but I will for now not discussed this very important now is that you get used to read notes on the staff. So practice this and do all the interactive exercises that you will find in the next lesson. They will really help you to get quickly used to the placement of the notes on the staff with a treble clef. 36. Exercise: Learning the notes on the treble clef: In this lesson, you can do interactive exercises to train the theory you've learnt. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 36. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 37. Musical notation - example exercises: Okay, yeah, I hope that you did well your exercises in the last lecture. So to two exercises where you went to the website. Because those exercises will make you a quickly recognize denotes the staff with the treble clef. And that's really needed for the exercises that we're going to do in this exercise, in this lecture. I mean, so be sure that you can read quickly the notes on the staff. So let's move to wom, the exercises. Actually, I'm doing examples, I'm doing six examples. And I do for you so that you can practice how to read music on the staff. And after that, you're going to do six exercises which are a bit similar, but also a little bit different, of course, because it's shouldn't be exactly the same as what we're doing now. So let's move to the first example. Here it is. It's very simple and I start very simple. And the next examples, we'll be a little bit more difficult. So the first thing you're going to do is to say, okay, what are the notes? So you see the first measure, the four quarter notes that are of course G, F, E, and G. And the second measure is just one whole note, C. So the first step just identified a notes, then tried to find them under piano keyboard. So G, F E, G, F, E, G. And the second measure was a, C. Alright, so first step, identify the notes. Second step, try to locate them on the piano keyboard. And then third step is, well, apply to rhythm. Well, this is very, very simple of course, because the first measure is just quarter notes. So they got together with a beat. So if the bead is like this, 34, that's simple, just to get it with a beat. And the second measure is even more simple. A simpler, because it's just deceit during the whole measure. So 234. So once you found out the third step, so to rhythm, then just play the whole example. Now, this is a very simple example of course, but I just wanted to show you the steps. So Dario force counts before we start 1234. And that's all. No, I should do it of course, with with a click track, a metronome. So I record as a click track, so I will put it on. There. It comes four counts before it starts. And that's it. Let's move to the second example. You see that in the second example I also have an eighth notes. So that means that the first two notes are together, one count. But wait a minute, we should first identify the notes. Of course, I almost forgot. So there we go. Well, that's of course G, F E, F E, D. And the second measure is of course simply as C. Okay, that was the first step, second step. So what is the rhythm? Well, so when we have, this is the rhythm, then you know that in the first count you have two nodes. So one and, and this E is also one count. So the first three node would then be 12. And the last three notes. On count three, you have again to two nodes. So that's three and, and then the last note falls on count for, so that's just four. So the whole measure would be 1234. So when we played on the piano, it would be 1234. Yeah. And yeah, the second measure of siblings see during four counts. So that's simple. So let's put on the metronome. There we go, four counts before we start. Okay. Second example. None. Okay, there it is. Yeah. What's the difference? You see the Nate same notes. You see the same rhythmic pattern. Well, the difference is just look above the staff. You see dimension swing. It means that the eighth notes as to have to be swung. You remember, I hope what it means, bread play them with his swing feel, with a triplet feel. So that means that you don't play. But I hope you hear the difference. Drip or lead. One more time. One more time to cheekbone lead for 234. I skipped the first step for the notes because we did it already in the example two. So the difference is that you don't do. 1234, but you do that for you here the difference, swing, OK with the metronome. There we go. Four counts from before it begins. Okay, let's move to example four. So first step, identify the notes. Well, that's of course g e c, B, D, F, E, G, E, C. Second step. Identify the rhythm. Well, it looks a bit like the former example. And notice you can have the mentioned swinging above the, above the staff. So it has to be swung. So it's again, jet bull led to triple at 41234. So let's just play it. Put on the metronome. There we go. Ok, well, I see now that a should actually take another fingering because I did this. Went like this. It's possible. It's possible, but perhaps it's better to take 532. Then you're ready to do 123. Or you could do 1312435. But again, considering the fingering, you can make your own fingering what's fits you best. So but I think this is the best one to 53124353. I didn't do the rhythm that well. Okay. So with the rhythm, so triple led to drip or let 41234 I put on the metronome and there we go. Okay. Let's move to exemplifies. Again. Swing. You see it? So the eight notes have to be swung. So there we go. The nodes E, G, D, E. C, D E, then G, C, D, G, E, C. Yeah, the rhythm. Triple, triple. That's so not for, I will do it again. Perhaps a little bit slower to trade that for. Now, that's the first measure and the second measure. Time to get what? 34. Sorry. Okay. Yes. It's already a little bit more difficult. So the first measure, three times eight notes and a quarter notes. Second metric, two times 8 eighth notes, and two coordinates. Let, we put on the rhythm, the metronome, and let's just try to play it. Perhaps just a quick look at what the fingering could be. 3523123 hazard. It means finger 1-2-3-4-5, just on the C, D, E, F, G. And for the second measure, what would be the best? 251431, that's a possibility or 251 not to because you could do three also. To Soder different possibilities. Let's play it. I put on the metronome. There we go. Okay, let's move to the last example. Example six. Again, you have to swing. Was also triplets. Here. The second beat is a triplet. So let me first do the notes. C, C, D E, F, D E. And then second Measure, G, E, F, E, D, C. Then the rhythm. So it's one trip. Yeah, one Jaipur let j bullets for only DEA did the seconds triple that you'd play the first and the last of the triplets. So it will be one. For thumb, dot, dot, dot, dot, dot. That's the first measure. Second measure. Dot-dot-dot, bow. Let's drip bowl, let 344. Okay. Yeah, so I do again the two measures together. Let's check that for triple 34. Let me do it with the metronome. Okay, so those were the six examples. You can download in the resources of this lecture. That six exercises that go with this lecture. I would say, try them from the beginning. So it starts very simple like those examples. Do them all. And in the next lecture, I will explain them. But before I explain them in the next lecture, I would advise you to really try them before yourself. You don't have to do them all in ones and then go to the next lecture. You can do that. Well, let's say the first three or so are to first, to then go to the next lecture and try to see if he did it well. Then the next two or three, et cetera. What you could do is record yourself. And then in the next lecture, compare what you did with what I do to see if it's right. What you can also do in the next lecture is to play along the exercises together with me so that you can see if you play exactly the same thing. Okay, that's up to you. I would say, I wish you lots of success with the exercises and see you in the next lecture. 38. Musical notation - Exercises: So are you ready? You, you try to the exercises in the former lecture. Perhaps you did them all. Perhaps you did only one or two or three and you're trying only part of it. Anyway, be sure that you have prepared at least one exercise to compare with what I do now. So there are real, so first exercise one. The notes are of course C, E, G, E for the first measure, and the second measure simply c. So I will put on the metronome, I will play along fort comes before it starts. Ok, this first exercise was, of course, very simple. So let's move for the second one, where we have also 2 eighth notes. First denotes, those are in the first measure, c, d, e, f, e. And in the second measure, of course, simply c. So the rhythm to be played is, of course, 12341234. So let me put on the metronome. There's no swinger. So the eighth notes are just straight eighth notes. So let me put on the metronome forecast before it starts. Let's move to exercise three, which are the same notes. So I don't have to repeat the notes. And it looks the same as exercise to only that it has to be sorting. So it's one trip bullet, 341234. I will put on the metronome and there we go. Let's move to exercise for soda notes are in the first measure, C, a, E, D, G, and in the second measure e, d, c. And be sure that you swing the eighth notes. So we'll put on the metronome. There we go. Okay, exercise five. So the notes are G, a, G, a, G, E, C. And the second measure, G, D, E, c. And of course with swing field, there we go. Then exercise six, the final exercise with also some triplets. The notes in the first measure, that's G, a, G, a G. And it three triplet notes are D, E, c. And in the second measure, G. And three triplet notes are d, e, g, and then a half note, C. Let me put on the metronome and let's play it. Ok. Those weren't any exercises. In the next lecture, we're going to exercise with a blues band that will accompany us. So the exercises will be a little bit longer. 12 measures, the whole blues. So see you in the next lecture. 39. Musical notation - Practice songs examples: So in the last two lectures, we have been practicing small exercises to two measures long. We will now do longer exercises, exactly 12 measures long. So the length of the blues and we will also play them with a blues band. Okay, you can download the exercises resources as usual. You can see that there are six melodies. I will know do only three of them. Melody one, melody three, and melody five, melody 246 are for you. I mean, do them on your own. And after that, in the next lecture, I will explain them. So in this lecture, only melody 135. So let's have a look at it. Melody one. Here it is. It's very simple. So you see only whole notes, half notes, quarter notes. So I think we can do this quite quickly. So as usual, you first go to see what denotes R. But I will not do that in this lecture because that would take too long. You can simply download that also. So dee yum versus second PDF file with the notes. So you check that there. Okay. So let me quickly play it with you. So the first line again. So the first measure is as simple as, so. With the click of the metronome, at every click you do a node. So in this way. But this is a special one because we have to watch after the fingering. You see that in a second measure, I go till the a, so I have to be prepared. You see I have only five fingers center, so this is a six note. So I can do like if I was playing the C major scale. So I do for the first measure. And I go with finger, one on the F, and then the next measure. So with a clicker, clip on my Nino, 1234. And then for the next two measures, I go again with my pinky on the G. So that would be, so again the whole line. You saw that between the second and the third measure. So when I hit the a, that I made little jom pass, so I didn't link the two lines together. You may link it if you want, but it's like a new musical phrase, so I can leave a little gap there. Let's go to the second line. So there we go. 1234. Also, dare you have to watch out with a fingering. I did this. And then I went with this finger here, but perhaps I could have done better. One to four and then to five on the deep, perhaps that's better. Let me do that. So 1234. And then I make a little jump for the next two measures. And those are exactly the same as the last two measures of the first line. So that's the second line. Let's go to the third line. Starts on D, The Heidi, 1234. So four to fingers. What did I do? 54351. But of course you can adapt it to, to, to fingering you want. And then we have the last two measures, which are again the same as the last two measures of every line. So again, 1234. So this is the way how you can, well texts such, such a melody. Just first, as always, identify the notes on the, on the, on the staff. You should be able now to do that quite quickly. You did all the exercise is also to interactive exercises, some lessons ago. So you should be really able to grip to do that now, quickly. Then. Play them on the piano. What you can do with a measure per measured and line per line. Look for a good fingering. And after that, when you, when you practiced, measure per, measured in line per length, then do all the 12th measures. Alright, so let's do that also. 1234. Okay, when you're sure that you can play that, Den plead with the play along track. So let me put it on the play long trick as, as, as usual, three rounds of a blues. But I will play only one round and then I will stop the play along track. So there we go. Okay, let's stop it. Okay, now, perhaps you might say, it doesn't really sound like a real blues. The melody is a bit. What can I say? Not really bluesy. Yes, I agree, but this are just beginning exercises. The exercises will start already. Melody three will be a little bit more bluesy because we introduce eighth notes with it, swing field. So that will make it a little bit more bluesy metal D5, even more. But I promise in I think over two lectures, we will introduce also other nodes that really will make it sound bluesy. So be patient. It's welcome. Okay, I will go to Melody three. And again, you can look into the second PDF, four denotes. So let us quickly determined the rhythm. Now. Watch out, there are eight notes and we're going to swing them. So it will be the first measure, 1234. You hurt that I swung denotes dum, dum, dum, dum, dum. So don't splay straight eighth notes. Okay, I go. I do the first two measures now. Run too. 34. Okay. Last two measures, 12341234. You see I didn't say drip or lead triplet, but in my head I said triplet, triplet. I said 34. But with a triplet feel very important, don't make it straight eighth notes. And the whole first line, 1234. Let's move to the second line. So first measure. So play the 1234, that's the second measure, 1234. And so that's. Makes for the first two measures, 1234. And then the last two measures are exactly the same as the last two measures over that first line. So the whole second plane, 1234. Let's move to the third line. And that's, so that's exactly the same rhythm as the second line, 12341234. And so with the notes debts. And of course the last to our last two measures are the same as, as always. Soda whole third line will be 123. For I will play it with the play lawn trick. There we go. Stop. It. Was melody three. Again, I will skip melody four and let's move to Melody five. So we see that's I introduced note also some triplets. So let's have a look at that. Okay, let's move to the first line and let's see the rim. So it's 12 and triple. Let for sort It's alright, so try that yourself. 1 second measure, that's 124. So that's a wrong fingering here. What would be the best way? So 3-5. And then go with for on the F 4321. I think that's the best one. So again, there we go. So that makes the first two measures, okay, third measure is the same as the first measure. So that's and the last measure is a little bit different to times triplets. So that's, but let's triple lead 34, that's 34. So the last two measures, 1234. Let me do the whole first Lang. 1234. Okay? Second line. Yeah, the rhythmic pattern is the same as in the first line. The whole, the oldest fort measures have the same rhythmic patriot. So that's again the first measure, 12 and drip outlet for one. And the second measure is 12 and tripled let four on the right fingering. But like this is the best. And the last two measures are exactly the same as the last two measures of L1. So that's so the whole second lane is 1234. Okay. Last line. So that's when we looked at a rhythm, 1234. And again in the second measure, 1234. So let me do the first two measures. 1234. That's exactly the same pattern, first on g and f. And then the last two measures are what we are already used to hold time to say Man. Soda Hall, third line will then be one, 234. Okay, so when you can play that line per line, then play the whole sung, the whole blues forum. So let me do it first without the play along track and then with 1234. Okay. All right, hits here and there, some wrong notes, but okay, I think you get the point. Let me play it with that. Play along track. There we go. But for now, okay, before doing the melody 246, try first also to melodies 135 that I just explained. And when you're comfortable with that, then moved to Melody 246. You can record yourself, but I think it's better that in the next lecture where I explained melody 246 that you played together with me, then you can really see if you play it in the right way. Okay, see you in the next lecture. 40. Musical notation - Practice songs: Okay, yeah, I hope you did well with the exercises in melody 246. Because in this lecture we will see how it sounds. Now, I will not show you what all the notes are, et cetera. You can see that in the, in the PDF that goes with this lecture. And I will also not explained the whole rhythm because I did quite a lot of times now and I think that now you'll be able to do it. So be sure that you can count eighth notes, especially end triplets, eighth notes with triplets, field with swing feel. If you don't remember, you can say drip, oh let, and yet you play only the trait and the LED so to first and the last. But you can also say just 1234. And so with a triplet, she'll not straight. Ok. What I will do in this lecture is I will just play it for you first with a click track. Because if you've decided to play along with meat and I think that you can better hear the piano when it's with a click track. So first played with a click track, and then I will play it with the band, with the play along file so that you have both versions. So I will put on the click track I use, By the way, I use 80 beats per minute, which is the same as the, as the play along track. So let me put this on the click trick and I will go to melody too. Let me know. Please together with the bend, there we go. Okay. So let me put this off. Okay, so let's move to Melody for okay, with eighth notes. So it would vote sound already a little bit more bluesy Dan, melody too. So I will put on the metronome and I will now play it with the bed. Okay, the first one there we doped. Okay, that was melody for, so let me tick. Melody six here before me, yesterday is also with triplets. So first with the, with the metronome. Oh, okay. This one was already a little bit more difficult. Okay. Let me put up the band, played together with the band. Okay. So I hope you did well. So what's next? Well, you heard that sounds already a little bit more blues. He done the former exercise, but still not really what you would expect of a blues. Now, this has everything to do with the blue third where I've been talking about. So we will do that in next lectures. But first of all, when you play a blue third, you will have to be able to indicate that's on your sheet music on your staff. So how do you do that? How do you indicate sharps and flats? Or we also call them accidentals. How do you put accidentals in your sheet music? So that's what we're going to do first in the next lecture. And after that, we're doing some melodies that really started to sounds much more bluesy. Okay, see you in the next lecture. 41. Musical notation - sharps and flats - accidentals: Some lessons ago I talked about blue thirds. You remember this is in the key of C, o, which would be the, the, the D-Sharp. Yeah, sometimes we call it E flat. Well, a third. When you call it a blue thirds, then you will rather say beef E-flat. Because when you say E, it's a third, we can say d, it's a. It's actually the second note. But, okay, the purpose of this lecture is, how do you notate black nodes? So for example, Sharp nodes, flat notes. How do you note date that in sheet music on the staff? Well, actually, it's very simple. Take for example, this f. If you want to take, to make of this F and F sharp. Well, you simply put a sharp sign before it. It's as simple as that. Or take for example, this E here. You want to make it an E-flat. Just put a flat sign for it. Now, this is not all. Because take for example, this simple melody that I have here. So if I were to play it, it's a very interesting melody, but it's, doesn't matter. I will not split with a swing feel just with this trait. 8 eighth notes. So that would be okay, no sharps and no flats. But let's assume that I want this F here to be an F sharp. So we just learned, just put sharp sign before it and then it becomes an F sharp. But the rules say that once I put the sharp sign before a note, then it means that all the same notes in that same measure become also sharpen. So the melody would then become, Did you hear that into first measure? All the Fs that are written from the moment that the sharp scientists there are played as an F sharp. But that in the next measure, the Fs that are written are normally Fs, no F sharps. So it means the sharp sign will count from the moment that the sharp sign is mentioned into measure for all the same notes in that same measure, but it loses its validity. In the next measure. Know what's, if I only wanted this seconds F in the first measure to be an F sharp, but all the other F's to be normal Fs. Well, we also have a sign for that. That's the natural sign. It looks this. So, no, the first measure I will note played a second measure because the F state S there. So the first measure would now become, so only this seconds F in the first measure becomes an F sharp. The other f's just stay f. So this natural sign is also for the whole measure. Also the natural sign loses its validity in the next measure. But well, for now it doesn't make any sense because, because of next measure they will, They were still just F's and F sharps. So how is it with flats? Well, the same rules as for sharps also apply to flip notes. So for example, let me say I want this E here in this first measure to be an E flat. When I put an at, sorry, when I put a flat sign before this e, It becomes so only for the first measure. This flipped sign is valid, but not for a second measure. And also here, if you put a natural sane just before the next E In his first measure than the, it should be played as follows. So only the first E will have a flit, not the second E. So did melody will then become, okay. So nothing special. Not very difficult. So there are three signs. This sharp sign, deflect sign, we already knew it and because we puts them after denote names, if we want to sharpen or floods into name, a note. And we now have a third sign, which is that natural sign, but DOS, three signs. So the sharp sign, the flipped sign, and the natural sign, we call them accidentals. Okay, that's it for now. See you in the next lecture. 42. Musical notation - example exercises with sharps and flats: So in this lecture we will apply those accidentals that we learned in the last lecture to play the blue thirds. And that's a blue third. We'll make it sound much more bluesy. So finally, I've prepared for melodies to melodies I will do in this lecture. And those are exemple melodies. And I will explain them how to rid them goes how her notes are, et cetera. And of course you can practice that also. But the other two melodies, melody 34, are for you to do after this lecture. And I will explain them in the next lecture. So first tried to do them, those melody three and for yourself before I explain in the next lecture, but let's start with a melody one. And as always, you can find everything into PDF file in resources as usual. So here's some melody one. And by the way, there are all, of course, 12 measures so that you can play them along with, with the play along blues file. So their all to be, have to be swung. So sometimes it's not frightened, but from novel it's always swing, swing fecal. So well, what do we see here? We see already in the first measure, an accidental had the deep sharp, which is of course the blue third in the key of C. Okay, 40 rhythm. You see one end to end, and you'll see a half note. So that's p to 34. But you also see a tie between the last eighth notes, note and the half note. So how has to be played? So you have to count it as follows. Of course, 123. For only that on the three, you don't repeat, denote, you just go on with the end of two. Denote D to G, D, H. Note that you played on the end of two, so it will be 123. For you heard that I didn't play again on beat three, I just hold it. 123 for next measure, 123 for exactly the same rhythmic pattern. Let's look at measure 34 because there's also an interesting thing. First of all, you of course have the grace note, but second, you see that the last eight note, C in measure three is tied together with the whole note in measure four. So how has this district become counted? The first two quarter notes are symbol, that's just 12. And then beat three, that's three. And, and beat four is four. And, but you hold the sea. Over the next measure. So how does it go? So that's 123. Sorry, I didn't played a grace note. 12341234. So you're hurt that I didn't hit the sea again on beat one of measure four. I just hold it from the end of four in measure three, I will replay. Measures 34. I will clip my knee. Now you hear clearly that the note that I play on the end of Fordism and see that its hold on into the next measure. So let me play the whole first line. Okay? Not when you understand this first line than the other two lines are, lines 23 are not very difficult anymore because the rhythmic pattern is, well, actually the whole time to same. So line two, there we go. So those are the first two measures, exactly the same rhythmic better. And well, measure 34 are exactly the same as measure 34 of the first line. So that's simple. So we can move on to the third and last line. Okay, the rhythmic pattern is to say only that grace notes at it. So and without grace notes it would be. But you do now, do you know what this slide from the a sharp or B flat, how you want to call it, to be. Sorry. The last measured, last two measures are a little bit different. Okay. And I think I made a little mistake in line two because I said it's the same as measure 34 in line one. Actually, I see now it's not. So let me go back to line two. We had this already. And then measure 34. I think I did this. So the same thing I did as in lane one, but I see now that it's a little bit different, there are. Two times 89 eighth notes. So it's so, sorry, forget. So let me repeat the whole line to line three. Okay, and that's the whole melody one. So you hear that this blue third, and there was a grace notes that they make the blues melodies sound much more bluesy than in the previous examples. In the previous lessons. I will put on the play along track, and I will play it with the play along track. Let's go. And I stopped for the next two rounds. When you play it, you can, of course, play all the three rounds. Ok, that was melody one. Let's move to melody to. Okay. Also here we see that there are ties on the notes. So that first measure would be 123. And, and it, you don't have to play the forward because you hold it. So 123. Okay? And I should say Forward button that's played. So again, it should be 1234. Okay? The next measure is a little bit more difficult because you have an eighth note, Dan, you have a quarter note and then an eighth note. Let me first play it and then I will explain it. I will clap my hands four times before I begin the second measure. This is a nice form of syncopation. Syncopation, By the way, simply said, means that your notes are not on the beat. Syncopation is a little bit more than that, but let me say that's a simple definition of syncopation, which is used in all kinds of Western music. So if it's difficult to interpret those 3 first notes in a measure to make off that quarter note to eighth notes. It would then be, sorry, 1234. So now instead of playing the two, you play it only as one note. That's so let me play it with my hands mate, metronome 123 or and when you think of 2 eighth notes for the E, Then it would be 1234. But now you do. Okay, let me play the first two measures. 1234. Okay, measure three. So that's 123. And, and before. You don't play this on beat four because you just hold it from the end of three into beat four. So that would be, Don't forget to grace note. If it's difficult with a great nose, grace note, try it first without a degree is node 1234. And then we can play that layer. So the grace note. And then play measure four, which are two triplets and half-note. So that's drip, drip bullet 34. Or I should change a little bit of fingering. You could do it like this. So first 235 and then 4321. I think that's the best. Okay, let me play the whole first line. 1234. Let's move to the second line. Okay, let me first play it without the grace note. So it's one, N2, N3, and, and again, on beat four, you just continue with the the cedar. So I played now without the grace note and now with the great note, grace note and the second measure. So that's chip or let's yes, trip, but let's do and three for first without degrades note. I've tried a few times. And then tried with the grace, grace note, which makes to first measures, they are as follows, 1234. And the measure 34, well, they are exactly the same as measure 34 in the first line. Sorry, that's 1234. So let me play the whole second line. 1234. Okay? So be aware of this natural, that's where aria, this G, because triplets. And the second time you played a G, It's normal G. Okay, let's move to line three. Okay, so that's one straight bullet three for only that on the three, you don't repeat denote because it's linked to the last node of the triplet. So let me first play the first measure without the grace note. So again, one trip bullet 34 or more time, slower. And then you'd play it with the grace note. There's a move to the second measure. It's the same rhythmic shape, but notes played on g but on F, So that's 1234. So the first two measures would be 1234. Watch the natural signs. And yeah, the last two measures, we already know them because they're the same as the last two measures of line one and line two. So that's 1234. So let me play the whole third line. 1234. Okay, and that's the whole melody too. So, yeah, I will play it with the bent. Let's go. Okay, that's all. So practice this well, I would say first method1 and melody to be sure that you understand well the rhythm sends, denotes and everything and that you can play it. And then, yes, of course, you guys are going to find out yourself how to play melody and the melody for. And after that, you're going to check your version of melody 34 with my divergence in the next lecture. So see you in the next lecture. 43. Musical notation - Exercises with sharps and flats: Okay, are you ready for Melody 34? So let's dive into it directly. So start with melody three, and the first line, we start with the first measure, which is simply well liquid, the rhythmic pattern had its one end to end. And the three for you just hold the G from the end of two, so that would be 1234. The second measure is exactly the same arithmetic pattern. I will first play it without the grace note, sort of what that was. That will be 1234. Or sorry, first without degrades note and then when you can play it, just add the grace note has this 11234. So watch out. This second. D is also a D-Sharp. Oh, because the sharp sign is for the whole measure. So d measures 34, so that's measure three is simply 1234, end and measure for you just hold the sea from the end of four of measure three. So that's 1234. Let me play the whole first line. Let's move to line two. So that's 12, 3%. And on beat four, you just hold the F on, which you starts to play on the end of three. So that's 12341 more time. And in measure four, I will first played without the grace note. That's one, end to end. And the counts 34 you just hold to denote. So with the grace notes, that would be 1234. So yeah, what I do is I slide it and the second time I play it with my index finger with finger number two. But yeah, I think yeah, I think that's the best way. The first two measures. And then measure 34 are actually the same as a measure 34 in the first line. So that's sort of the whole second line. Let me play that. Let's move to line three. So that's the same arithmetic pattern as we had in the very first measure of melody, 301st line 12 end. And during beat three and phi for you just hold the note G there. So that's, And then next measure, Yeah, the same rhythmic pattern, but just everything notes lower, so that's 1234. And measure 34 are, again the same as the last two lines, lines 12 delays to measure. So that's again, let me play the whole line is three. Okay, are you ready to play the whole song? I will first play it with the metronome at 80 beats per minute. And for that I will play it with the bent. So let me put on the metronome. Okay. Let me put this off and put on the young bent. There we go. Okay. That's it was melody three. So let's move to Melody for first, that first line. Okay, that's a little bit more difficult, of course. Some triplets at it. Let's see the first measure. So that's one tip or lead three. And and before I didn't saved because you hold denote. But when I would play and we'll count with it, that would be one. Let me collapse. May had weird clone 234. Okay, so one trip or lead three. And then the second measure is trip or let's do end. And again to 3434, you just hold the sea that you played on the end of two. So that's 234. Let me play it with well clipping on my knee. And let me play you measure 12 together. Okay. Measures 34. So you see here when I first don't look at the grace notes, 1234 and, and then you're holds d u4 into the next measure, in measure four. So when I play it without the grace notes, it would be. And when you can play that just at the grace notes, 1234. I will replay it because the second grace, grace note, I missed it a little bit. 1234. So let me play the whole first line. Let's move to the second plane. So what do we see there in the first measure? Trip? But let's do N3 ent. And on beat four, you're just hold. Denote c on the, that you played on the end of three. So once again, that's tempo let 23 and we play another fingering. Yeah, I will do. What is its fingered? 2354321. Like this. Okay. There we go with the rhythm. Just put it 23 at measure two. Without disgrace, no dot would be one end-to-end. And on beat three for you hold to denote. A story should be a G sharp for odd because the grace notes has a sharp and it counts for the whole measure. And with the grace notes, that would be let me play that first two measures. And then measure 34 are two measures, which makes for the whole second line. Let's move to line three. Okay, so we see there are 12342, I am sorry, 123. Okay, so watch out for the four sharps. You have a sharp. And later the g becomes a G-sharp. Okay. Let's move to measure to answer thats 12 m3 end. And again, before you continue to play the seat that you played on the end of three. And that's, so that's 123. Which mics for the first two measures? 1234. Let me see. Yeah, this is the best. 3323233235123434. So that was three. So let's play with the metronome. Okay. So that's melody before. So I hope with me, I hope not. You can make mistakes here in a learning process so that it doesn't matter. But of course, when you make mistakes and learn from your mistakes and it's important to ask yourself, okay, what was the mistake exactly? Why didn't it sounds exactly like when Martin played it. So watch and look in the sheet music to see what you've done wrong, done wrong. You can only learn from it. Okay? See you in the next lecture. 44. Musical notation - Rests: Music doesn't consist of only notes. There are moments where you don't play, music needs breasts. Risks can be just like a note, long or short, or everything in between. In a former lesson, you learned about note duration. We saw the whole note, half note, quarter note and others. The equivalence for wrists are the whole wrist to have rest into quarter rest. Which means that the whole rest has a duration of four beats. To have rest, two beats and a quarter rest just one beat, just like the note durations. You can write down to rests on the staff as follows. This is a whole rest. It's just hanging on the fourth line of the staff. This is a half rest. It's laying on the third line. And this is the symbol for a quarter rest. And just as with note duration, you can also have shorter wrists. An eighth rests, for example, is written as follows. It has just like an eighth note, a duration of a half beat. By adding flags, we can make even shorter rests. This is 16th rests with the duration of a quarter beat. The 30-second dressed with the duration of an 8-bit, et cetera. The next lessons, we're going to do some exercises with arrests and notes. 45. Musical notation - Rests example exercises: In order to exercise with rests and notes, in this lesson, we have four examples with rests and notes. So starting with a very, very simple example and then slightly going to more difficult examples. Example NOR number four, of course, is that the most difficult example. So let's start with example number one. How would you see probably that this is a very simple example because everything's on the beat, while perhaps not the eighth notes, but the beginning of the two pairs of eighth notes is always on the beat, so it is very simple. So let me put for now red dots there where the beat is. And let me play this example. As usual, you get four clicks of the metronome before it starts. Okay, so I hope that you heard well, the placements of the rest. Now this was of course not very difficult. I hope you heard also that it was a straight rhythm, so not a shuffle rhythm and no swing. So 1234 and et cetera. Let's try this same example with shuffled rhythm. So 1234, and here it comes. So I hope you heard well the difference between a straight rhythm and shuffled as swing fuel rhythm. Now this was of course a very simple example. So let's move to example two. Now if you look well, this is very similar example. Actually it's almost the same as exemple when I only moved the second eighth notes of both pairs of eighth notes, and I replaced it with an eighth rest. So I will again put red dots at the beginning of the beats. And you see that very simply, all the notes fall on a beat. So it is very simple. Let me play it. Okay, I hope you hear too well all the placements of the risks. If not, you've got just go back and you play it again. Now, it makes no sense to play this with it tripled, triplet fields or with this swing rhythm. Why not? Because all the notes are exactly on the B to D. There are no nodes that are two between two beads. So we can go on to example number three. Now, this example is already a little bit more difficult because not all the notes are exactly on the beat. There are notes that are in-between two beats. Now how can you see that? Well, let me make it clear by first putting again the red dots. So again, the red dots are exactly on the beat. So on 1234. Now you see that the 2 eighth notes in this example are not on a red belt, so not on a beat. So they fall actually on the end. First eighth notes falls on the end of two. And the second eighth notes, note in the second measure falls on the end of four. So you could actually clever with your hand on your knee and say 1234. And with each number, your hand hits your knee. And with each end, your hand is in the air. Now we call the moments that your hand is on your knees. So on the beets, we call it downbeats at the moment that your hand is in the air. So on the ends, you call it upbeats. Now, let me put green dots are a little bit higher placed than the red dots for the upbeats. And you see here are two nodes, the 2 eighth notes, which fall on a green dots. So on an upbeat note, if I would place all the upbeats in the examples that, oh, also all moments that there's no note going on, then it will look as follows. So you'll see now all the down and upbeats. What I will do know is play this example and you will see a great transparents bar moving along with the music. And it will move at each half beat. So on downbeats, upbeat. So you will see the great transparent bar move of the red and the green dots. So here it comes, which, well, and pay attention, look well and listened well. Here it is. So it's very important that you can exactly here where the downbeats, Andy upbeats are, especially the upbeats because they're a little bit more difficult. So if you're not sure, just played again and listen well so that you understand exactly how it works. Okay, no, you hertz, that is, was a straight rhythm. It was not a swing rhythm. So I wanted to do this again, but now in a swing rhythm. Now to do that, I will add also the ends in the metronome. I will do it with a little higher click tone. So when I would do that with a straight with him, the metronome would sound like this. 1234. And with a swing rhythm, it would sound like this. 1234. Okay, so let me play this last example with a swing fuel. Okay, let's move to the fourth and last example. As you can see, a little bit more notes that fall, don't fall on the beat. Let me put it red dots, you see it better. Now you see there are more notes that don't fall exactly on the beat. So let me just put the notes that are not on the beat Saudi of beats again with green dots there the art. And let me down all the green dots that are in this example. And ever that's, well, let's just play it. So again, first, I will play it with its straight rhythm, 1234. And, and after that I will play it with a swing fuel. So first the straight field and perhaps it's good to clap with your hand on your knee. So every time you hit your knee, it should be on a red dot, on a downbeat and every time your hand is up should be offbeat on a green dot. Okay, there we go. Okay, I hope that you did follow well, the example that you understand everything. If not, Well, as always, hey, you go back, you listen to it again. Be sure that you clip your knee. So when your hand is down on your knee, you're on the red dots. That's the downbeat on the 1234. And when your hand is up here on an, on an upbeat, so on the green dots, that's on the ends. Okay, so that was a straight rhythm. Let's try to do the same thing now with a shuffle rhythm, with a swing feel. There we go. Okay, those were the four examples. There'll be sure to understand them well because in the next lecture we are going to do some exercises. So see you in the next lecture. 46. Exercise: Exercises with rests: In this lesson, you can do interactive exercises to train the theory you've learnt. To do so open a PDF file and the resources with the name exercises blues piano course dot pdf and click on Lesson 46. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 47. Blues in other keys - Introduction: Now you've probably noticed that all the Blues Progressions we plates till now had as a root note denote c. We plate as it one court, the court see as a forecourt decor to F, F major and as a five chord to chord, G major. And I hope you'll remember 2145 course. They've not go a little bit back towards the beginning of the course, because it's important to know that. So we played the blues in the key of C major. Now, what if it would play a blues in another key? So for example, D major, F major, or even B-flat major. So that's what we're going to learn now. And I will start with a blues in the key of G major. I hope you'll remember. G major has one sharp. C major, by the way, at no sharps and no flats. Let me put scheme here above the virtual piano Ed we have C major, no sharps and no flats, only white keys. Then we had G major, only one sharp. And on the other side, F major with only one Blakey, which was the B flat, so it's a flip note. Now, let's assume we want to make a blues in the key of G-Major. We need one courts for courts, and five courts. Now to one court is obviously g courts. G, B, D, G major triad, G major chord. You can also say, What's the forecourt? Well, when G is one, then go, the notes, go through the notes of the G major scale. G, a, B, C. C is the fourth note. So C Major. We already know that the court is R for court. What does our five court? Well, 12345. That's D. Well, we don't know D major yet. We even don't know the D major scale. So that's what we're going to do next. In the next lesson, we're going to do the D major scale. 48. The D major scale: So to D-major scale, let's start. So obviously it starts on D. Now, I hope you remember the major scale Formula, 1.51111. You'd see it displayed above the virtual piano. Let's use that to determine the notes into D-major scale. So we started on D, one tone, on a whole tone up to E, 100, whole tone up to F sharp. And I will tell later whites F sharp and G flat. Then we go half a tone up to G. Again, a whole tone up to a, a whole turn up to be a Holton up to C sharp. And as with S, with the F sharp, it's not a flat tone, but a sharp tone, and I will tell you later why. And finally, a half-step APP vector root. The D. So the D major scale consists of the following notes. D, E, F sharp, G, a, B, C sharp, and D. Okay, so I will tell why is this an F-sharp and delta G flats, and why is this a C sharp or D flat? Well, you know, what are the two rules? I hope you remember. One rule says you may not have the same letters, one after the other and the others is you may not have a gap between the letter. So assume that this would be a G flat. Then I would have d, E G flat, G, a G flat, G, that's two times liturgy, that's forbidden. So that's why it has to be an F sharp. Or when I would apply the other rule. So assume again that this would be G flat. Then you would have d, G flats, a between E and G flat, that's litter E and the letter G. There's the f, the letter F missing. So that's the other rule and you may not miss a letter. Well, you can apply the same rules to see that this is a C sharp or D flat. I will not do it for now. You can do it yourself. Ok, it's actually very interesting. Let's have, let's have a look here above the virtual piano. I will put this same scheme as I did before, C in the middle with no flux, no sharps. Add the left sides. We have the f with only one flat note. At the F major scale has only one flat note in its scale. That was to be flat by the way. Then on the right side of the sea, we had the G major scale with one sharp note. It was the F-sharp. And where do I have to place my D-major scale now? Now, you see that on the right side of the C, I have a scale with a sharp note, and on the left side is scaled with a flat note. So as D has sharp notes, I will put it on the right sites, and I will put it on the right side of the G because G has one sharp notes, so D has to sharp notes and there it is. So on the right side of the C, I have no two major scales. First, the G major scale with one sharp note, and then to D major scale with two sharp notes. Okay, let's look at what the finger position that bird positions are referred to. The majors go. Well actually it's very simple. It's the same as, for, as C and G. So I will do it quickly. D, f, So that was 12312345. I'll play it one more time. 12312345. Down. Same thing. 54321321. So nothing new here. Same thing as with C and G. I will do it's two octaves, 1231234. And instead of going with my pin gilded D, I go with my thump emoji, and I continue as usual, 2312345. And so the only difference is that you don't lend with your pinky here, but you go with your finger, one with your thumb. Okay, let's go back to octaves, 54321321. Now, i go with finger force or my ring finger into C sharp, 4321, and as usual, three to one. Let me pay. Play the D major scale two octaves up and down, just for, so you can see it one more time. Down. Okay, you can also look in the resources, the data you have the finger positions in. In a file. Let's do debt left-hand. So first one octave, it's exactly the same again as with c, g, 54321321 and back down, 12312345. So that's simple. I mean, you've talked if I will start an octave lower, 5432132, rods are still now it's the same as what octave? Now you go with your pinky over your thump, 4321. And as usual with your middle finger over in 321 down, same thing, reverse order, 1231234. Now don't use your pinky but go with your thumb under your ring finger on the D 12312345. So I will play a god to two octaves up and down and down. And again, you can see the finger positions into files in resources. The other files into resources, dose or MP3 files and DE are play along files. All right, remember that with c, f, and g with it. We did that also. If you don't remember how to work with the Play along files, one octave, two octaves, right-hand, left-hand, then go back to the beginning of the course there I explain how to use the Play along files. Okay, that's it for now. That was the D major scale. So see you in the next lecture. 49. Chords: The D major triad: Okay, now that we know to D-major scale, we can also form to D major court or let me rather say D major triads. As you know, a major triads is formed by the first, third, fifth notes of the major scale. So when I look at the first five notes of the major scale, I need to first, third, fifth note of that major scale. So those are D, F-sharp and a, and this is my D major triad. Notice that it's the first, try it with a black key, with a sharp note, D, D. The C major triad had only white keys. The F-Major ties had only wife keys to G-Major triad had only white keys. Now to D major triad is our first, first. Try it with a black key. Ok, this is quite simple. Remember that when we talked about the C major triad, that the f major triad and the G Major triad that we also make inversions, court inversions. And remember, I will show it at first a C major triad that's moved up the lowest note that this C went from here, here, here. And we have to first inversion done remove to the E, Then the second inversion. And when we did the same trick, we were back in root position. And now we can do the same thing for the D major triads. So this is the root position because the root is the lowest note. Now when I move up the D, I get my first inversion. So this is the D major triads. In first inversion, I move up the third or third note of the D major scale up an octave. And I get to D major triads in second inversion. And of course, if I repeat that trick, I'm Beck in root position. So D major triads removes position. First inversion. Second inversion. 50. Blues progression in the key of G major: Okay, so let's start with the blues in G major. So till No, as I said before, we've always done a producing C major. And to see the three courts that we use to where C major, F major, and G-Major, which are one to four and the five chord. So we have to find the one, d4 and d5 court for G. I told us already a few lessons ago, but it's never bad to repeat it. So obviously, the one chord is the G chord. We know the G chord of course. And it's three inversions. The forecourt, well, go notes of the G-Major scale. The first 41234 notes are dose. So to fourth note is C. So to see CTE, many B8 here is for a course in its inversions, of course. And to five course, five Court, sorry, 12345, is that d CT. Now, we just learned to the D chord, D major in all its inversions in the last lecture. So we're going to use those three courts. Now let me first bring up above the virtual piano to basic blues progression here you see it. And you see only ones, fours and fives. Now you see probably that I took the seconds blues progression. You see that this court here is the forecourt. So that's a second blues progression. It's basic, basic blues progression we didn't in the beginning, but the one with the little change that we made in that court. So are we going to use that one and let me fill in the ones, the fours and fives with G, c, and d. There it is. So this is our blues progression, G. And of course we're going to practice with that with a payload file. Okay? Let me just put it on. You choose inversions, you can choose the convergence that we like. Of course, I wouldn't not do one course. Always. I would change it. For example, here, the one chord, four chord, five chord here. So they're very near to each other, but you can, in fact, there's it once, as I just showed you, you can also then after that, do this. So 145, so try out several combinations. In this way you will practice well, all the inversions of the courts. So let me put on the, the play along track. I will. As always, it's three times three rounds of the blues progression. I do only one round. You can use three rounds and for example, in each round, use another combination of inversions. Let me put it down just to show you. We can do a simple, of course, stuff that was much more difficult. This is only an exercise to let you get used to the G blues progression for one thing. And the second thing is to practice the D court, which we haven't practiced before. And so practice this in several inversions. If you want, you can use your left hand to play. The bass notes are G, c, and d. And I think that's a good one because it's a very simple exercise. It's good to use also the left-hand to accentuate even more the courts with the bass notes. And oh, I almost forgot. It's of course very important to also practice the courts with your left hand. So after you practice the courts with your right hand, do all the blues progression also with your left hand. So I mean to courts and not only the base notes and left hand and the courts and their right hand, but due also to courts into left-hand and that you can leave your right-hand rest for awhile. Ok, practice it well. And then I see you in the next lecture. 51. Musical notation - Key signature: Now when you play a piece in C-Major till we have done till now over to hold time, then you will mainly play only white notes. Of course, there are exceptions as so. For example, the blue third, we did it with a black note in most cases. But the majority of the notes, or just white notes because it's in C Major. Now, as you know, were no going to play a blues in G-Major when you play, the musical piece doesn't have to be a blues, but just in general, a musical piece in the key of G major, then you will have to hold time. A black note, the F sharp, because the F sharp is the LD sharp note in the key of G-Major. That would mean that you would have to write the whole time sharps before every f in the piece of sheet music. Now, this is of course, a big hassle. And that's why we say in the beginning of the staff of sheet music, we say, Hey, listen to species in G major. So you, every f that you see on the staff in this sheet music will be an F sharp. Well, that's exactly what we do because it's much easier. So that's what we call the key signature. Now, the key signature, you put it between the clef. So in our case now, the treble clef and the time signature. So when I display a staff here of a piece which is in G-Major, then you see here this sharp sign is between the treble clef and the time signature. And this means that every time that you see an f in this piece, that has to be played as an A-sharp. Now, what if you want, for example, to play a normal F for whatever reason? Well, then you just need a natural sign. Natural sign will be valid for the whole measure, and it loses its validity in the next measure, as we learned before. So that's key signature. Then do so for a piece in G major, you will have one sharp, and that sharp note to the F-sharp will be displayed in the beginning of the staff between the time signature and the treble clef. Now for other keys like D-major or I don't know, B-flat major or whatever. We will of course need other key signatures. But we will see that once we get to a piece in that key. 52. Blues in G - Right hand: Okay, we will practice a blues in G. So I have denotes is they are in a PDF file in the Resources you can download them, of course. And I will later when we do it, also show what's above the virtual piano. So, well, actually, let me put it now. There it is. And we have the first line already here. And you see, this is clearly in G, because we see that the time signature is one sharp, F sharp. So it means that all the Fs that are written in the on the staff, F sharps only when there is a natural sign before, of course, done not. So let us look at the first line, the first four bars. First of all, it's of course a swing rhythm. And now the first, the first bar to first measure is not very difficult. You see that the 4 eighth notes, eighth notes, that's their old beamed together. This is of course exactly the same as two pairs of beamed eighth notes, eighth notes. But now it's written as beams nodes. It's exactly the same. So what's the rhythm? It's 1234 end. Okay, and the last note, the last eighth notes, is hold in the next measure. So, and the nodes are, of course, B, B, B, a, a sharp, B D. So what do we have? 12341234. So those are the first two measures. I will one more time plates. Okay. So the next two measures, measure 34. I will first explain the rhythm without the grace note. So you see one end and onto is at rest, and then you have 34 end. So if I would play it, it would be one and the rest. 34. And so with the notes, but without a grace note, that would be so one and rest, 341 and Thrust 34. And this last note is hold intuitive. Next measure, the fourth measure. So with the grace note, it would be as follows. Okay, let me play the whole first line. Let's move to the second line. So that's the first two measures of C and the other two measures Ji court. But we're looking at the notes now. So what do we have? It's the same rhythmic pattern as we had in bars 34 of the last liner. So the rhythmic pattern is not very difficult to run and rest 2334 nt, sorry, let me do it again. So one and rest 34 ends. And that last note is hold into measure two. So with the notes and I will play it directly with the greys note. So nothing special, nothing difficult. Done? Yeah, measure 34 are exactly the same as measure 34 into forced into first-line. So that's so let me play the whole second line. Let's move to the last line, the third line. So what do we see there? Now? What shout this. You see. It starts with an F, but it's of course an F sharp because you have the time signature. Well, you see it also to the sharp is in this case just before the notes because it's on the beginning of the line. But if it would be further, Watch out, all the f's are F sharps. But what do we see? The second note has already a natural signs. So the first known is an F-sharp. Second note is again an F, and a third note, I cancel than the third note, I cancel the natural sign. It's again an F sharp, so that the notes are F sharp, F, F-sharp, a. Now, why would there be an F? Well, remember that the first bar of the third lane, what's four to d court? That third of the d ct is the F sharp, is a major third. Now, the blue third is actually a minor third. So that's an F. So dense where the f is there. Yeah, you can see it as a sharp and ninth, then it would be an E sharp about, OK, we write it as an F, So as really as an minor thirds. So what's the rhythm? One, n two, n three is actually Hold on from the end of two. And then the fourth measure is for end, but the four is at rest. So it's, let me count with it. 1234. Sorry, it should be this note. So let me do it again. 1234. And then we go to next measure, which is a similar pattern only that's the last note of this. The g is hold till the end of the measure. So let me play the first two measures. So what you see actually is that the last eighth note in this first measure, this D sharp. It's actually the blue third of the C chord. So actually anticipate the C CT in the next measure and the second measure already into first measure. Okay. Yeah, the last measure is almost the same. The last two measures that measure 34 are almost the same as measure 34 of line 12. What's the difference? Well, it starts the same. 1234 rests. And I don't do. What, what's, what's written there is b, a sharp. Why it's an a sharp? Because in the beginning of the measure you have that grace note, which is a sharp and it counts for the whole measure, then there's a natural sign. So it's an natural A and then a G. The last eighth note, which is, hold on to the next measure. So the last two measures would be 1234. Okay. What shots for the finger position? Seeing the last measure, I always slide it with one finger. As you know, you kinda can also do it with two fingers, but I usually slide its width. In this case a middle finger. But when I keep on using my middle finger and have a little problem. Yeah, I can do this, but it's better to then take your ring finger. 43214321. Excuse me. So let me play the whole third line. Sorry. Let me do it over. Okay. Let's try it with the play long file. Let me put it on. One round is enough, but you can of course, play all the three rounds. So when you practice this melody, ok, this is, by the way, 80 beats per minutes. I will put into resources, also, 100 beats per minutes and 120 beats per minute. Because he says really slow effort is both these nicer if it's fades quicker. This, this blues asks to be played quicker. So what you do is you can also, besides the play along track, also practice with a metronome and then you can slightly increase the tempo. First still hundreds, and then you try it with the practice File and then later to 120, and then you practice it with the 120 beats per minutes practice, fine. Okay, so practice well, and see you in the next lecture. 53. Musical notation - The bass clef: So now that you have learned how to work with the notes that are written on the staff with a treble clef, which is normally used for the right-hand As you know. Let's look at how it is with notes that are written on the staff with a bass clef, which is normally used for the left hands. So that is what this lesson is about. So let me start by showing you a staff with a bass clef. Now, you've seen the bass clef once before because I showed it already to you in less than about treble clef. So here this again. So let me start by directly showing you all the nodes that go on and in-between the lines of the staff. Here they are. And you see that it starts with a G. And I'm going up all the white notes of the piano till you arrive at a notice highest ei, which is on the highest line of the staff, is the aid that is just under the middle C on the piano. Now as they were also an easy trick to remember the notes on the staff with a bass clef, like we had with the treble clef. You'll remember that with a treble clef, face notes. Do we have a similar trick for the bass clef? Yes, we have a trick also for the bass clef. So let me take away some notes and we're left with those four notes. You see that those are older notes in-between the lines a, C, E, and G. Now, this doesn't make a word was like was the case with the face notes on the treble clef. But you can make a sentence of a, C, E, G are the first letters of the sentence. All cows eat grass. So just use the old cows eat grass sentence. And you can easily find all the other notes that aren't on the lines of the staff. Okay. Now, once you know this, so how to place all the notes on and in-between the lines on a staff with a bass clef. The rest is simple because it's totally similar as with the treble clef, like for example, ledger lines. So this note here is the Middle C. How can you see that? While the note on the highest of the five lines of the staff was eight, the a just below the middle C. So just go up two steps and you see that this is the middle C. And of course you can also go below the staff. So for example, what note is this? Well, if you count well, the note on the lowest line was a g. So when you go down in steps, you can see that this is a low B, okay, now, as I told you before, the general clef is more for her right hand and a bass clef more for the left hand. This is not a 100% true, but let me say 99.99%. So how do we display right and left hands together with, because with a piano you can play both hands together. Well, we do it in this way. We place the staff with a treble clef above a 100 staff with the bass clef. And you link them together. And in this way, you can read both staffs at the same time and play both hands at the same time. Now, of course, this needs some practice and we will practice debt, of course. But first, we'll practice with only the bass clef so that you get used to the notes on the bass clef. Now, what about all the rest? Time signature, key signature, rests, note length, sharps or flats, et cetera. Well, it is exactly the same as with the treble clef, so I don't have to explain you that anymore. But let me just show you a staff with treble and bass clef. For a piece in G major, as you know, a piece in G major has one sharp, that's the F sharp. At the key signature, as you know, is placed between the clef and the time signature. So that would be the F sharp here on the treble clef, but also the F sharp here on the bass clef. So this is how a piece in G-Major would begin with treble and bass clef together. As I said, rests and note lengths, they were exactly the same. Ok, it's important that you learn as quickly as possible all the notes on the bass clef. So in the next lesson, you will have exercises to help you with that. And I think it's important that you do them before going on to further lessons. 54. Exercise: Learning the notes on the bass clef: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 54. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 55. Blues in G - Left hand bass line: So when you practice well, in the last exercise denotes on the bass clef, then you should be prepared to do the left-hand baseline in the G major blues that we started at some distance ago. For now we will concentrate only on the left-hand side, the right-hand, we will use it later to the right hand. We learned a few lessons ago. And then we will bring them together so that we will play both hands together. So well, let's start the left-hand. So I will bring up the notes. This is the first line of the blues. And it's, it's very simple. It's a, it's a nice baseline with only quarter notes, so no difficulties on that. In that domain. You see, of course, that time signature, an F sharp in the treble clef and an F sharp in the bass clef. We're looking, of course, at the treble clef, but I, well, it's displayed here because later we will add the right-hand notes. So we look only at the bass clef at the lower staff. So F-sharp, Be aware of every f is an F-sharp unless there's a natural site, of course. So let's start with the first measure, and it's starts with the notes G had a lowest notes on the lowest line is a, G, A-Sharp, B, and D. Now the a sharp, G sharp, B and D. The a sharp is of course, the blue third, which is a minor third, but written as a D-Sharp and they'll doesn't E-flat I've been talking about before. So root, minor third, third, third, major third. And the fifth note of the G major scale, which is the faiths, wrote minor third row, third, major third faiths. And it's repeats well during the whole first four measures, for measures where you have the G chord, so it's simply 1234. So those are the first four chords. Sorry, the first four measures for the left-hand, all for the G chord. G major chords. Yeah, so that's quite sink. Was it just a steady rhythm? Quarter notes, take the fingers of 5321. I think that's the easiest way of doing it. For 35321. Sorry for that. So again. 3215321, etcetera. So brings that a few times so that you get used to the left-hand baseline for the G chord. Then we move to the second line, which is of course to first to measures of c ct. And then two measures of G CT. Now, for that C chord, we do exactly the same thing, but a little bit lower. Starting on the seat, it's a god. Roots, blue third, major thirds, and fifths, but then in the key of C, so two times. And then again in G. So now it's very difficult. Of course. In this, these first two measures, you have to read the ledger lines. Bod, if you see that the lowest lying off the staff is a, G, then go down F, E, D, C. You see that it's a, C, the first belt at D sharp, E and G. So you have to, of course, to reach the ledger lines. So times the c ct and then BEC and got two times the G chord. Same as before. So let's move to the third line of the bruise. You'll remember there's, the first measure is a D chord. Second measure, c ct. And Dan again to measures of G. So let's start with the first measure to D court. Now watch out. You see a natural sign on the second note. So that's an F instead of F sharp. You remember, that's the F-sharp should normally be played. Since it's a G major and a time signature tells you that's all. F's become F sharps, but there isn't natural side. First note is a D of course. So it's d, f, which is again the blue third, minor third in the key of D. Then we make it again an F sharp because there's a, again, a sharp sign. And to fifths. So it's D, E, F, F sharp. Again in the c part, the second measure, as we were used to in the c part before. So to first do measures are and then measure three is, as usual, the G bar Toyota to the baseline for the G CT. Bod what shout. The last measure is a little bit different. This is a turn, a route to bring it back. Of course we could repeat. But it's nice to indicate that is the end of one round of blues. So what we do is we are now not playing, differs G with our pinky bugs, with our index finger, finger number two. Because dead you can reach with your pinky. The D. What shout. Now, you should not take your sorry, no, that's already does. First measure off the often x quarts of the beginning of the blues. So actually, the whole fourth measure is we kept from your dough, we take finger to 543. And what I wanted to say before is that when we go to a next round of the blues, so back to the first line. We would do again the already that if we lead with our middle finger on the F sharp, you should doesn't go with your finger. One on the G. A go with fear, fear for three, sorry, et cetera. Talk a little bit later the data again. So I do to hope for measures off this third line now. And you see that what I'm going from measure one to measure three, that I lend it with my thumb on the g and that I have to make a little jump. Yeah. Nothing to do about that. It doesn't matter. Okay. So we now know, we now know how to play the whole left-hand part for the blues. But I won't again, one time. Going from this last measure of the third line is to first measure off the first line in the booze. And I will lens done with my finger. All the g three, all the a sharp and forgot rest normal as usual to one that you should perhaps. I'm a try several times, I would say the last two measures of length three and the first measure of L1. So we are here. Last, the third measure of line three. Watch out this finger, Tao, the index finger. Or watchdogs melt your index finger. But Lao thought, I've done three to Bob. Also try that several times. Of course you play slower, less so again knows where to last two measures of line three and the first measure of their blues, so differs measure of line one. Ok. Now, of course, you should try, is Hole Blues two plates several times. And try to think of also going from line to line to from one to two, line three, et cetera. Because let me show you the last measure off line 12, the first measure of line two. So we come from G. And we have to go through to see if you have big enough heads. I have big enough Manhattan's, but not everyone has that. Then you go kind of LinkedIn knows to gather from this year to, to see if your hands are not big enough that you make, you make a jump. It's also okay. From the second measure in line to third measure in line two, you come from the z. You go to the G, you have to make a little jump ads with your thumb and you have to start with your pinky. So then we have the last measure of line two, and we go to the D part in line three. It's only one octave. I think you've got a ticket. Bob's, if your hands are not big enough, that just make a job. And I got a second measure of live three. Sorry, dot was one tidy one time see I plates two times d. So one times z, d, one times c. And that you'll make a job to go to the GI adult forgot. I beg, to the beginning of the blues, et cetera, et cetera. So try to practice dose. Those transitions from a line to line. And in 92 from measure to measure three. In line three from measure to measure three, and from, from line three back to line one, those are transitions that are important to practice, then practice to hold blues. And of course, you can practice with a practice file. Notice is especial practice file. You cannot use the practice file from the former G blues because there's also, there's already a baseline in it's and they would interfere too much with this baseline. So I record it. I'm a pretty long trek without a bass track. So there's drums and I put it in also Oregon and a guitar. So when you played, it sounds a bit strange, but when you put your own baseline over it, it's okay. I will put it up at play along with its only one route, but you can, of course, played three rounds as usual. There we go. Stuff. I played the first measure of the next round because of the translation of the last measure to first measure of a new route. Okay. I would say practice it over and over until you master it. Well, because after debts, we will, we will play it with both hands together. Okay, I wish you lots of success and see you in the next lecture. 56. Blues in G - Both hands together: Okay, you know, know, that left-hand ended a right-hand part of the blues in G. So be sure that you know also to write end part here, the last lesson we have done the left-hand part. If you did the right-hand part. So to listen about direct right-hand part long ago, you should practice that also so that so that you're ready to play both hands together. And so you should know really how to play left-hand and right-hand. So let's play them together now. And I will bring up here the notes narrative IR, and you see both the treble clef and the bass clef are filled in with notes. So let's move to the first measure. Now, remember had derived tight it was. And the left-hand side, we have to try to bring both hands together. Now the first two notes are, of course simple. It's just they're both played at the same time. That the next notes, you know that the left heads, just all with the two quarter notes. Derived hand does the eighth notes with swing few. So that's, so when I played it for the whole measure, that's all right, so try that several times. So you can play that. And well, the second measure is actually very simple because you just hold this note here. Go off with the same pattern. In the left-hand side of the first two measures are simply, be sure that the left-hand goes on steady with the same rhythm. If you mistakes, you make mistakes, or if you can't, let's play it in the right rhythm like this. Don't, don't pay. Like I didn't know how subjects you don't splay a steady rhythm. If you count, play it in a steady rhythm, didn't just play it slower. Thought it should be steady. This left-hand the whole time with the click of the metronome dock. Dock. Dock, dock, without slowing down or speeding up. So use your metronome that slightly, you can increase the tempo. And by the way, we have three different files to practice with. 80 beats per minute, a 100 beats per minute, and 120 beats per minute. So be sure to play it at least at 80 beats. Beats per minute in a steady tempo so that you can play it with the play along track so that we move to measure 34. Let me first played without degrades note. So the first note is that at directly after, we have the second node in the left heads and you have the same pattern as the first measure. Sorry. So this is without a grace note. And when you can play that. So the first note in the left hand with two nodes and you're right, had Dan, you have the left hand. The second node to the third Nalgene left hands, you have two nodes and you're right at the last node in the left hand. You have also to nodes in your right hand. And now with the greys note, I continued with measure for because you just hold the G and Guam with the left-hand, rid them. One more time. Measure 34. But be sure to make the polls balls into right-hand stairs. Arrest of a one beat. So let me play the whole first line. And again, when it's difficult, that's law were down. Okay. Let's move to line two. Saw YM, Yeah, it's the same rhythmic pattern to hold time all day. So nothing different, difficult. But now we can see the first blade without grace note. I should've holds the see in the right-hand, but okay. One more time. And what you can play that play also the braze note. The god you shoot, of course. Starts slowly. You slightly increase the speed as always. Measure 34 of that second life, it's exactly the same as measure 34 of this first live. So that's simply. So let me play the whole second line. Perhaps it's a little bit difficult to make this jump with your left hand. I know we tried it in the last lecture already, but now we're doing it with the right-hand. So otherwise you just practice going from measure to measure three. So you are on, so on the C here. So I'll do dot the whole time, etcetera. How this transition from measure due to measure three, if that's difficult for you. So that's line to let me play it one more time. The whole line. Let's dot move to line three. So, yeah, again, the beginning of the measure is the same notes, not just say written notes, we start with eighth notes. So think of the coordination between left and right head. So that first note, the left-hand goals with two notes in her right hand. At the second note, also with two nodes. You hold this a into right heads while going to the third note and your left hand. I saw dad, you paid a fourth, Milton. You're right, had that's fun. Ads. So count for isn't your left hand at the end of four, isn't your right-hand? Let me do it slowly. A little bit more, little bit more quickly. And then measure two. Same rhythmic pattern, but you don't have this last eighth note on the end of four. So that's while you hit the first note in your left hand, you do two notes in your right hand. The second note in your left side, also two notes of your right-hand. Dan, you add a third note in your left-hand default, nobody you left hubs are the first two measures together. And then we have the last two measures. And the beginning is the same as we were used to. And I watch out to use your ring finger all the B in your right-hand, left-hand OneNote, right times two nodes. Well, with a grace note, it will be three dots. That left-hand. I'd done where you play the third note with your left hand. You do. Also to be in your right, had two routes, either Ri times and the last note in your left hands also two nodes, IDA, right? And of course auto, sorry. Let me do it at all. I repeated this but I should go to the solid. Let me do measure three again. And then I go directly into measure for add finger to all the GI. One more time. Measure 34. You know, that's when you start a new round of the blues. You shoot. Starts the new left hand bass line with your thumb and then go. But we learned that in the last lesson. So let me play the whole third line and a new round of the blues with your thumb. Ok, also here going from measure to measure to, to measure three, might be a bit difficult with your left hand, with a jump, of course, you practice, it's already in the last lesson, but now you have also the right-hand. So practice dose transitions well, okay, so when you know how to play every line separately and also the transitions between the lines. Dan play the whole blues and you start playing it at a very low Temple, for example, at 50 or 60 if you want, depending on what you're able to play and then slightly increase the tempo till you are at 80 beats per minutes. When you could play it at 80 beats per minutes, dad played with the play alone file. So let me show you how to do that and I will play only one round. You can play, of course, three rounds. And I will play the first measure of the next round because of the transition. So there we go, et cetera. Okay? Of course you can stop at this tempo at 80 beats per minutes, but you can also go on and try the 100 beats per minute version of the play along track, or even 120 beats per minute version of the tracks as you want. You can also skip that if you don't want. Let me show you how to play the 120 beats per minute version. There we go, et cetera. Okay, yeah, I wish you lots of success. And I see you in the next lecture. 57. I, IV and V chords in the key of F major: So till now we have done to blues in C with D 145 courts, which are C, F, and G. And we did a blues progression in the key of G major and do 145 courts were G, C, and D. Let's now move to a chord progression to blue sport court progression in the key of F major. So we have to find the one to four and to five courts. Now of course, f is the one chord. The F chord we did. It's celebrated sometime ago, but perhaps you have to look a bit, little bit Beck intercourse. The F courts FAC, and you have to know the inversions, of course. Watch, Well, the F-major scale has one flat, B-flat. A key signature will also have a B flips. So if I would show you the key signature here above the virtual piano, and I do it for the treble and bass clef together. You'll see here, the key signature for a piece doesn't have to be a blues. Thats can be any piece in F-Major. Ok, do one to four and to five courts and F-major? No, as I said, F-Major Is the one court before, of course. Well, let's go out for D, F major scale, 1234. Hey, that's B flat, B flat major. And we still don't know that's court. So that will be done in the next lecture. What suffice court? Well, 12345. That see, hey, C, we know we're going to adhere the inversion. I hope you'll remember them. So f one court be flats, we don't. Notochord jets is the forecourt. And C, C major is the five chord. 58. The Bb major scale: As you learned in the last lesson, we need the B-flat major courts to be able to play a blues in F major. And for D, the B-flat major court, we first need to B-flat Major Scale, of course. So that's what we're going to do in this lesson. And I hope you remember the formula to major scale formula, but I will display it, of course, above the virtual piano narratives. So let's start this on B flat. And I go one whole tone up. To see, again halt on up to d. I will have to go up note a half at home. So I had to E-flat, halted up to F, halt on two g, whole town to a, and finally a half enough back to the root, B-flat. Okay, now, of course, why is this? Why is an E flat and not a D-Sharp? Well, you should know by now the two rules that you have to apply, only one of them, of course, let me just apply one rule. You can do the other one yourself. So imagine this would be a D sharp, then we would have D. D sharp, F. Yeah, well, D-Sharp, two times letter D, not possible. So this can only be an E flat. So that's the B flat major scale. B flat, C, D, E flat, F, G, a. Okay, for the finger positions, it's a bit of a special one because we start with finger two. Then we go with finger one, thumping on the C. We go on finger or two fingers. Dan we go again with finger while the f 234, right? So once again, 1231234. And back is always the same but in reverse, about in reverse direction execute. So 4321321 to be the special one because we start with finger two, with our index finger. Let me do two octaves up. So we start in a normal way. As we just learned, than what we ever arrive at the high B flat down, we go with our thumb under our ring finger and see. And we go up in the same way. When it's too quick for you, you can always look at di, at their resources. There's a file with all the finger positions and I so I go back and now again with 43. And so yeah, it's it's not very difficult, but you have to be to get used on it. So you have to practice it with the metronome as usual or of course, with the blame on practice files. Let's move to the left hand. And that starts on finger 3343. And you can add with two or three as you want. As we started with three breaths into best is to end also the three. But you can choose so that with your ring finger over GitHub 43213, or eventually do back. Same thing, reverse order so you can start them two or three. Then 12. Thump under your under your ring finger. One more time. Three to three to three. And let me do two octaves. So we start in the same way. Now we have to end with our third finger, not with a second. And we go on in the same way as before. And either with two or three. Let me go back. Again when it's too quick for you because I didn't explain it in very small details. Go adds to the resource file, that PDF file. Not sought a PDF file, I think it's an image file. Not wherever you look in the file and you see this finger positions there. Okay, breakfast. And of course, you can also practice its width. Lay along files, you will find them into resources. See you in the next lecture. 59. The order of appearance of sharps and flats: We've seen five major skills till now. We started with C major, F major, and G-Major. Then we saw d-major. And now we've just seen to B-flat major skill at first scale starting on a black note. You might ask yourself, why do we see the skills in this strange order? Why not? For example, first C, then D, then E, until we've done all the scales that start on a white note. And then after that, the ones that start on a black note. Well, you've probably already guessed that there is a special reason for that. And that reason could be that we need to scales in that order so that we can form 21, d4 and d5 courts needed for basic blues progression, right? So for example, for the blues progression in C, we needed the sea court, the court, and the G chord. Now it's true that this is a valid reason for does bleu scores, but it's not the main reason. In fact, there's a logic in the order of the appearance of sharps and flats in the major skills. Now to show you this, let me first add our last major scales so that if B-flat Major took a diagram that we used till now. Now clearly the B-flat major skill has to go at the left side of the sea. And there we placed the major scales with flits. Now we will place the B-flat major scale just at the left side of the F-major scale. Since F major has one flit and B flat major has to flits In this way from C, which is placed in the middle of this diagram. Every step to the left means an extra flip note in the major scale with every step to the right. Again, starting from C means an extra sharp note in the major scale. Now, when we start on the C majors go and we go one step to the right. We arrive at the G-Major. G is the fifth note in the scale of C major. We also see G is the fifth in the scale of C. And we call the interval from C to G also a fifth. So watch out when I say a fifth, it can both be the fifth note of the scale or the interval of a fifth. So for example, the interval between C and G. Ok, let's now go from the G major scale one step to the right to arrive at the D major school. And what do we see? We went again if fix up because D is the fifth in the scale of G. Or you can also say d is the fifth note in the scale of G major. And I look at the G-Major scale. 12345. D is the fifth note. Let's try this also starting totally on the left side of this diagram. So starting at the B-flat major scale. Now the fifth in the scale of B-flat is the F, because F is the fifth note. And indeed, the F-major scale is situated just on the right side of the B flat major scale. And look at the F-Major SKU. When we go with fifth up, 1234. Then we arrive at c i because the fifth note of the F major scale with the note C. So I can say in this whole diagram that one place to the right means a fifth up. And of course also vice versa. One place to the left means a fifth them. Or in other words, from see every step to the right. So every time you go with fifth up, you get an extra sharp in the major scale. And from C every step to the left. So every time you go with fifth down, you get an extra flats in a major SCO. So this makes it very easy to see which major scale has, for example, three sharps in its SKU. To do that, go to the D major scale, which has two sharps. Go one step to the right, and it means going up a faith. Now the fifth note into D major scale is 12345 a. So the a major scale will have three sharps. Now, assume that I want to determine which major scale has three flits. Then I have to go one step to the left from the B flat major scale. Now, this is a little bit more difficult because we know how to go with fifth up, but how to go a fifth down. So in other words, of which major scale is B flat, D fifth note. Now, this is not so easy to say because we still don't know that major scale. So we have to invent another trick. What we will do is to count the number of half steps in an interval of a fifth. And so for example, from C to G. So there we go. We started on C And then we go up 1234567 steps. So instead of going down a fifth, I could also say go down 7.5 steps. Okay, so let's do that from B flat. So starting on B flat, 1234567, and it takes me to E-flat. E-flat major will be the major scale with three flat notes. By the way, why is this E flats and not to D-sharp? Well, remember that at the left side of the C major scale, we have the major skills with flits, melt with sharps. So this must be an E flat and not a D-Sharp. Ok, now, this diagram is very important and we will complete it with the other major scales that are still to come. Anyway. The next major scale we will see is that if E-flat major, the major scale with three flats. 60. Chords: The Bb major triad: So now that you know the B-flat major skill, we could also make the B-flat major dry it. So let's do it. As you know, a major triad to always consists of the first, the third, and the fifth note of the major scale. So, well, the first five notes of the B-flat major scale are those ones. So the first, third, fifth notes are B flat is the root, the major third, and the fifth. This is the B flat major triad. It. And of course, with the B-flat major triads, we can say this is the root position, and we can make the other inversions. So we take this one, the root, up an octave, and we get the B-flat major triads in first inversion, D, F, B flats. When we take the major third an octave up. Then we have the B-flat major triads in second inversion, F, B flat, D. And of course, as always, when we do to take once again, we're back in root position, but an octave higher than where we started. Ok. Try this out yourself. Correct this a bit with it, like you did with the B flat major scale. So practice to scale a few times. Breakfast the courts in its different inversions. And in the next lesson we're going to look at a blues progression in the key of F. So where do four CT is a B flat chord. And dare you can also practice with the B flat chord. So see you in the next lecture. 61. Blues progression in the key of F major: So now you know that B flat major scale, you know, the B-flat major court it dry it. You know, the 124 and to five chords in the key of F. So I think you're ready to know what the blues progression in F major is. So let's go. I first bring up the Bruce progression as we know it, as we use it till now. So to one to four and to five courts had 12 measures of the, of the blues. And we only have to fill it in. So all the ones are Fs, F major courts. All the force before courts are B-flat major chords. And all the FISA courts, Well, it's only one measure. Is c ct. so, yeah, that's actually, it's, so the blues progression in F major is four times the f ct, two times the B-flat court. Oh, I'd take it and does inversion now because it's near to this F courts that I just took done back to F, F major, two measures. Then one measure of c, I will take this inversion. One measure of B flat, and again two measures of F. So, yeah, what should you do? Yeah, well, you should practice, does blues progression to get used to it? And of course, to practice the courts, of course DF courts and to seek what you knew already, buds to B flat chord is new for you. So and so, and of course, as always you practice it's in all the inversions. F, B flat, C. And you make combinations of the inversions so that you have studied you can play the blues easily. So I just this date dosing versions. So f in root position, B flats in second inversion. And see, did it also in secondary version. But y naught to doing f in first inversion, b flat in root position. And you could do see in second inversion, why not? Well, dry out all the possibilities? Well, not all the possibilities, but a lot of possibilities. And I said you can get used all the inversions and that you practice well the courts in alerting versions, and of course, that you practice well the blues progression in the key of F. Okay? As always, you can practice to courts with your right hand, but of course always also with your left hand to because when you're improvising, for example, you do it at mostly with your right hand and your accompany yourself with courts into left-hand. So be sure that you also know the courts and your left hand. So take to play along file and practice. Right-hand First older. Of course you can, of course, take into lefthand to well, you do chords and your right hand, you can do in your left hand just the roots of the courts. And so F, B flat, and C. When you practice the courts in your left hand, done, just leave your right-hand. Let it rest because you've got OBS due to bass notes. Otherwise you should play like this, but not we will not deal with that. Okay, so brake as well. And then you will be ready for a blues in F-Major, which we will do in the following lectures. See you then. 62. Blues in F - New Orleans left hand bass : Okay, first of all, before we start, one thing you should notice ad that is dat. You can see it at the piano and diverge piano. They don't start at the same note as usual. Normally we started always. And this is the middle c hat. From the middle seat, we had two octaves down. The lowest seat was the lowest note. At three octaves up. 123. You don't see it anymore. Was the highest C. Now, the whole thing is shifted two nodes to the left. Now, the highest note is the a, and the lowest note is also a. Again, this is middle C. So for a middle C, two octaves, dao, and then even white notes down. Now why is that? Why did I shift this whole image? Well, that is because we will need the low B flat. And that's all, that's why I shifted it to whites, white notes to the left. Okay, let's start. Okay, now that you finally know the chord progression for blues and F-major, let's do a blues in F major. We start with the left-hand. Show it now here up above the virtual piano. So let's see what's there. We see the next rhythm. So one quarter note to eighth note, according note and 2 eighth notes with the swing feel, you can count it as 1234 end bomb. That dub, dub, dub dot. Let's take denotes. The first note is an F or low F. Then second Note, the 2 eighth notes, F, a. Then beat three. Quarter note is a C. And again to 2 eighth notes are a and C. So when I play that with the rhythm 1234 and I get, hey, we heard is before. We did this, before, that was the newer loot, New Orleans Blues style left-hand. And then we played it in C. Now we played in F. Now there is one thing that you have to notice is that little dot dare under the high F. What does it mean? You see it under every high F here on this line. Actually, this little.me staccato, and that's Italian and it means that you have to attack the note very shortly. Like this. Actually, it has to be played as follows. Sorry for the mistake. So dense differs line at, yeah, actually, when you know how to play this first line, then you can play the whole left-hand part of this blues, because after that we have the second line. We have two measures of B flat and dared AR. And also they're staccato which out. And then you're back to F. Then we have the C, one measure, one measure of B flat to measures of f B2. We do the rhythm already, one measure. And then the last measure is just one note. Blade, staccato, saga, last line would be, see. And that's the whole left-hand part. So I would say a practice it with the practice file. I will show you one time how that works. So let me put it all. I've got a new route behaves. Let me stop it. Okay? Of course, as always, you can play to three runs. You know, it's so bright because it well, and Dan, in the next lecture, we're going to the right-hand. 63. Blues in F - Right hand pattern: So let's start to do the right hand. Now. The right-hand pattern, this time is not a melody. So we're more like playing a pattern based on the cork tones. And you would typically use this wave playing to accompany a singer, for example, or eventually a solo instrument, like a saxophone player, guitar player, or eventually a harmonica player. So let's get started. I display now the staff above the virtual piano. You see both hands dare, but we'll look only to the right-hand side. You see already bets. It's typically not a Melodia. This is yeah, triplets. Courts paid into triplets while courts it's only two notes, but oh, two notes is also a coordinate. So we see here a, to start with a soap drip, drip, drip by drip bullets. Before I forget, you see only two measures displayed. It's because it's too long. So we will have not three lines of four measures, but six lines of two measures. Okay? So it's the whole time. Tip them that's tripped bow, let's drip bowl, that's drip bullets. And you play the a and the c at the same time. So I will let you hear how it sounds with a left-hand, even if we're not doing the left-hand now, et cetera. Okay, this is, this is actually quite simple. Now you would say, why wouldn't you play the whole courts like for example, this head, this would be the F chord in first inversion. Yeah, you could. But perhaps is a little bit to fool, especially when you have to accompany someone else. I see here's much more space for a singer or a solo instrument. Anyway. You see, I'm in this left-hand accompaniment. We play the f and the a and BC, which are the roots, the major third, fifth. So actually I outlined the whole court already with my left hand. So if I leave out one quarter tone in the right hands, it doesn't matter at all. So I take only the major third and the fifth. But we will do only do right hand. Okay? I think it's quite simple. The second line, as you know, we have four measures of the same chord of the escort. So the second line is exactly the same. So I can directly move on to the third line, which is actually the second line if we consider it for measures per line, but as I said, we have no two measures per line. So the third line, it's the B-flat court. From the B flat chord, we take now the root and the third. Why do I take the root and the third? And it's not like the F major seven scores and a third fifth, actually, because it's very near, I only want it comes from the F courts. I can go very simply to the B flats court. You don't need this fingering. You can also like this, whatever you want. Yeah. So it's the same rhythm. That's playful, that's dipole. Dipole, dipole. So, yeah, not much to explain here. It's quite the same. And of course, the next two measures is again the same DF courts. So I can move to yeah, it's measure nine. So it's now the fifth line. So actually, when you consider it four bars per line, it would be the third line, the last line, as we usually did. And there I will take that. So that's the C court also liked the B flat chord, the root, and the major third lasso coming from the F chord tone had done go to the sea Court, exactly the same rhythm, tip, tip on it and had the B flats court trip governments. So very simple. So going from C to B flat chord. Yeah, again to finger positions, you can do this, but I did have this. Look what fits best for you. Okay, going to the last two measures, and that's again f, only the last measure, we do something else, but the before last measure again. And the last measure, we just play the quarter notes, but with, with staccato as you see. Only this. So the last two measures would be this dripped on, let's print, well that's 1234. So that's it. That's actually all. So I would say just practice it with the practice file. Let me do it. Now. You use the practice file that you used in the last lecture, but there is no base on it. You know what? I will make? Another practice file with has a base, so you can play with that. But I don't have it's prepared now, so I will not break played with left-hand and right-hand together with the play along file because this play along file that I prepare, it has no base. Don't look at the left-hand only derived times and you play only the right-hand with the play along file that belongs to this lecture. So let's go and then you can start a new roads, et cetera. Ok. So practice this, practice the right-hand adds next lecture, we will do both hands together. 64. Blues in F - Both hands together: Okay, so when you know how to play both the left-hand and the right-hand, we can bring them together and play, play them both together. So that's what we're going to do in this lecture. It's actually not difficult at all because it's not a difficult melody in the right-hand. It's just the whole time to triplets. And you have to fit in the left hand. And let me just play the first measure. Now, before I do this, I want you to focus on the following problem. It's an notation problem. When you look at the both staffs. So the treble clef and the bass clef. Normally when, when it's written, well, then notes that are played at the same time, I mean, a node in left handed, a note in your right hand. So a note on the treble clef and a note on the bass clef. Wonder played at the same time. They have to be aligned vertically. Now, you see that the 2 eighth notes here, let me look into first measure. You'll have first the quarter note and then you have 2 eighth notes. While doing those 2 eighth notes, the first eighth note is aligned vertically with the first notes of the triplet in the right-hand and the second note. So the a should be lined up with the third of the triplets and you see it isn't. Now this has a special reason, which I will explain in the next lecture. It would be too long to explain it now. But for now, be aware that they should play it at the same time, even if they're not lined up vertically as they should be. Okay, enough of that. Let's have a look. So the first eight quarter note is played with the triplets. And now you have to lead. The next quarter note is again with a triplet together. Until the last 2 eighth notes are again on that beginning note and the note, the first and the third note of that triplet. And so together we get the played it once again, even slower. So try that out. You would first slow down slightly increase the tempo and even more. And when you can play that, you can play the whole song. Because it's the whole time, the same thing. So the first four measures, so the first two lines are exactly the same the whole time. Second time, third measure. And then you go to the fifth measure, which is the third line, which would be the beginning of the second line. If we had four measures on our line, that's the B-flat. Exactly the same rhythm. The only difficulty is, of course, when coming from the F chord, you have to make the jump. And then you have to jump back. Udf courts as so dry that several times going from measure for to measure five. So from the F chord, B flat chord, and then from measure Six BEC to measure seven, measures seven, which is again the F chord. So I will now play one measure of escorts to measures of B flat chord and one measure of escort. You should try it at several times so that you can make the jump from F to B flat. Of course, you already did that when you practice the left hands, but now you're doing both hands together. So try that again. So sorry. That tried it several times so that you can make the transition from the F to B flat and from the B-flat vector d, f. Ok, now, measure 78 are two measures of F. So Dan, you go from the FDA, the secret also dare you should make the jump. Rhythm stays the whole time the same. That's not a problem. So I will go from measure to measure nine. So from line four to line five, right? Try it at several times. And then of course you should also make a lot of big jump, but that transition from C to B flat in measures 910. So yeah, of course, I changed the finger positions a little bit. As I said before, you take the fingers positions that are best for you. You can also do well, of course 13 and here 13 and back to f. And those were the last two measures. But the transition from B flat to F, we practice it already. So, yeah, as I said, the last two measures are just 234 and add a new, a new round of the blues begins. So yeah, let me, let me play it with the play alone File. Once you get him play it all, you can make the transitions. You can play it at 80 beats per minute. Dan played with a play along for I play, it's now for you. So 1234, etcetera. Ok, practice it well and see you in the next lecture. 65. Swing Ratio: When I introduced the swing fuel, or also called triplet feel or shuffle, I explained that to eight cenotes were plates as a long and a short eighth note, where the first eighth note is played twice as long as the second one. When compared with a triplet, you can say that the first eighth note occurs with the first note of a triplet and the second eighth note, triplet note. Or when you say to work trip, go left, then the first eighth note goes together with it, drape. And the second eighth note with the let. Since the first eighth note is played twice as long as the second eighth note, we say that the swing ratio is two to one. In reality, this ratio is not always exactly two to one, but it can be sometimes, but it can vary somewhere between one to one, which would be straight eighth notes. And 3.5 to 13 comes swing ratios are to following one-to-one. Now, as I already mentioned, those are normal straight eighth notes. So this is actually no swing at all to one. This is the swing ratio that we used till now and which I will also continue to use in this course. And this is called triplet feel. This sounds as the first and the third notes of a triplet, three to one. The first note is played three times as long as the second note. Since the two notes together have a duration of a quarter note, so one beat, the first note has a duration of 3 16th notes, and the second 1 16th note. This is called Hearts swing. Now note that swung eighth notes are sometimes notated in sheet music, as in the last example, even if the ratio is not three to one, but close to two to one. So be aware of that. In practice. However, Swing ratios are usually not exactly two to one or three to one, but it can be anything in between, for example, 1.67 to one. This depends on the piece to play and to the musician or musicians who perform it. And it even depends on the speed at which that piece is played. Faster pieces tend to go more in the direction of one-to-one. Perhaps you remember that notation problem we had in her last blues. The blues in F. The second eighth note into left-hand was not vertically aligned with the third triplet note into right-hand. Now this has everything to do with effective swing rhythms rarely exactly follow the two-to-one ratio at the program that I used for musical notation, which is, by the way, MuseScore therefore doesn't place those notes on the same vertical line. Now in those cases, I should actually notate swung eighth notes in one of the following two ways. And that's what I will do from now on in similar situations. So triplets plate at the same time as swung eighth notes. 66. I, IV and V chords in the key of Bb major: Okay, the next so we will do is the well-known song, Blueberry Hill. Now, Blueberry Hill is a song in the key of B flat major. Anyway, what is a key signature? As we know, B flat, D flat major scale has two flats, which are to be flats and E flats. So to key signature loops as they sound look above the virtual piano. There you have the key signature. The one, d4 and d5 courts into key of B flat, which our day. Of course, the one chord, Since we are in B flat is a force B flats. I will play one more time to B flat major scale has so what Chuck, we have two flats, B flat and E flat. And B flat major triads. In root position. First inversion, second inversion. Okay, as I said, B-flat isn't one court. What does the forecourt? Well, let's go up to B flat major scale, 1234. Hey, that's E-flat. And of course, E-flat. We don't even know the scale. So we also don't know the court. And that's what we're going to do next. Okay. Five court, 12345. Hey, that's f. We know it's the F-major scale we know at the F chord. So a root position, first inversion, second inversion. Okay, so in the next lecture, we will do the E flat major scale. See you in the next lecture. 67. The Eb major scale: So the E flat major scale. Now I will first bring up the diagram that we made before. Value. Remember C in the middle than at the right side we had G with one sharp and D with two sharps. And at the left side, we had a first F with one flat, then B flats, B flat major scale with two flats and E flats. Remember, that should be three flats, and we will see that it has indeed three flits. Okay, I bring up the D major scale formula and let's start. So we started on E-flat. Go up one whole tone, another whole tone to G, a half tone, a flats, another whole tone to B flat. A whole town to see. A whole term, two d, and finally a half to two, the root if land. Okay? I think by now you can figure out why those two extra notes are a flat and B flat and not a G sharp and a sharp. That as always, apply one of the two rules, I think you can do it yourself. So again, the E flat major scale, E flats, F, G flats, B flat, and C, D, E-flat. So let's look how to play the, the E flat major scale. So I start with finger two on the E-flat. Finger, one on F, 21, J, three on a flat for a flat, one on C, two m, d, and three on E flats. Yeah, I could eventually start also with three instead of two. Both the E flats with finger three. Ok, so down, let me start now. One, finger three. Exactly the same thing in reverse order. I do it quite quickly because you can look at the ads, the files in the resources that you can see all the finger positions for left-hand and right-hand. So what's well, 3214321 and an either two or three. Let me do two octaves. I'll start with two. So we start in exactly the same way as we did for one octave. And now we go one finger, one ODF, exactly as with one octave. Finger, one on to see. Okay, lets go back. As always, it's the same thing but in reverse order. Or eventually with three. Now as you see, I do it quickly, but as I said before, you can look at the add the files and resources. Sorry, let me do that left-hand now, first, one architect up three to 14321, and then either with two with 33214312. Let me take three. So down, same thing, reverse order, 32134123. Let me do two octaves now. So we start in the same way, 32143213, and we just go on to 143213 or eventually to, okay, let me go back to octaves, two or three. We can start with two or three, that's the same. Let me start with true now to 12341231234123. Okay. As I said, you can look it up at your ease in the files, in resources. You practice it, of course, left hand, right hand. Take your metronome and you can of course, also use the practice files. Sorry, there are three different speeds. One octave, two octaves, or in total, six different play along files which you can use to practice the E flat major scale with. Okay, in the next lecture, we're going to do the E-flat major court or try it, I should say. See you in the next lecture. 68. Chords: The Eb major triad: Okay, let's look at the E-flat major, dry it. So again, the E flat major scale, I hope you'll remember, E flat, F, G, a flat, B flat, C, D, E flat. Three flip notes, E flat, a flat, and B flat. So, yeah, we know we need to do the first, the third, and the fifth note of the scale so that first five notes are dose. So when I take the first order roots, The third, major third, then I have those three notes, E-flat, G, and B flats, and that's the E-flat major triad. As always, we can make inversions. So take the E-flat C, an octave up, and this is the first inversion. Take the third or to G an octave up. And we have the second inversion. And as you know, there's no third inversion. So those are the three positions. Root position, first inversion, second inversion. Okay, try it out yourself. Don't forget your left hands. And yeah, I didn't. Next lesson, we're going to look at a blues progression in the key of B flips. So with the 145 courts, which are B flat, E flat is the second inversion and the F first inversion. Okay, see you in the next lecture. 69. Blues progression in the key of Bb major: So as I told you before, Blueberry Hill is in B flat. So that means that's D1 and D4 and D5 courts are b-flat. That's the one court. E-flat is the four chord and F is the five chord. Now, Blueberry Hill is a bit strange blues. Well, strictly said it's not a blues. Well, the first part, what we're going to do in the next lecture, yeah, you can see it as a blues, but it's a bit of a strange one because its doesn't even start on the one court, it starts on the four chord. Now, since in this lecture we're going to practice with the courts. So d, E flat major chord, F major chord, and the B-flat major court. I will end this lesson, do the Basic Blues Progression. We always do so to standard blues progression. We're used to submit, you can practice with it. And then next lesson and the next lecture we will do Blueberry Hill and you will see that the progression is totally different. But for now, as I said, normal boost partitions. So again, one court, B-Flat for courts. And let me take this inversion because it's near to this b flat in root position. For courts to the five chord, the F. As always, I can take totally other inversions. I can start with the B flat chord, like this, E-flat sports like this, and then the f like this or like this. U. As always, you're going to and try all the inversions. No, I haven't even shown you do due to two blues progression in be flatly, Let me first who'd had so first I will bring up the 14 and to five courses where we're used to. So this is the standard, Basic Blues Progression. We use already seems a long time. And we just fill in four to one courts, the B-flat courts, 44 courts, the E-flat courts, and 45 Courts. The courts and dare they are. So that they alone file is into resources of this lecture and you're going to play with it. And yeah, you know how it works. I don't have to do it. I mean, as long as you know what a one to four and to five chords is, you just put on your play along file and you try to play the courts along with the player log file. That's all. Try out all the inversions. And as always, you can, when you do the right hand to the courts and your right hand, you can in your left hand, play the root nodes. So B-flat courts like this, the E-flat court. And the court, or an octave lower, as you wish. When you practice your left hand. As you know, you should always practice also your left-hand. Then played just the chords, Sasso, for example, B flat, E flat, and F. So here you have still another combination of inversions. That's how do right hand, left hand play with the play along file. And in the next lecture, we will do Blueberry Hill. And as I said, it will not at all follow this blues progression. But of course, 14 into five courts will still be B flat, E flat, and F. Okay, see you in the next lecture. 70. Musical notation - Blueberry Hill: Now before we really starts to play Blu-ray Berry Hill, I will first show you here the sheet music and discuss some elements on the, on the sheet music. First of all, as I said before, Blueberry Hill is strictly spoken, not a blues, but it's still counted this part of the blues of repertoire. So that's why we still do it in discourse. Blueberry Hill consists of two parts, which I'll call the a part and be part, or you could call the a part also diverse and be part, the bridge, for example. But let's say a and B part. A part is played twice than to be part. And then again, the a part. And that's one whole round and done we will, you can play several rounds, but that's one round. So AABA. Now, these AABA form is used a lot in popular songs and jazz, not so much in blues. Each part has eight measures. So what a part has eight measures and a B part also has eight measures. So AABA, that's four times eight is 32 measures for one round. Now, for now, we will do only part a of Blueberry Hill. Part b, we will do it later. Why? Well, because there are minor chords, seventh courts, and we haven't seen that yet. So you can expect the whole song, Blueberry Hill later on and discourse. So first know only part a, diverse. Okay, so let's have a look at this sheet music. First of all, the key signature, of course, two flats, B flat and E flat, which means that we are in B-flat major and B flat major OB art one CT. Now one thing you've probably noticed already and that there are three steps above each other. And that's actually because the upper staff is just for the melody. We're not going to play that by the way, but I just wanted to show it to you than the other two steps are just a right and a left hand for piano. So just treble clef and bass clef as usual. Then another thing which is special and which is very important for reading music is the repetition. You'll see here in the beginning. Well, not stoked to mean the beginning and after the first measure, you see this line with this two points. And when we go a little bit further, you see again a line with two points. It means that when you arrive at this second line with two points, you have to go back to the first line with two points and repeat. Now, this repetition is a bit special because he also c here to we call it two endings. This one with the one and this one with the two. It means that the first time you play this round, you play ending one. So you play this part. Then you see the line with the two points. So you go back to the beginning. Well, second measure, which is displayed here, and then you play the second ending. Now the second ending, after that's done, we have played twice the a part and then you go to the B part, so desk where you go to the bridge. But we will do we will not do it at now as you know. One other thing. You see that I said already the a part actually starts here. So at the beginning of the line with a 2 to the beginning of their repetition. What is this measure before? It's a bit strange, you've ceded to time signature is four quarters, but you see only three quarter notes. So it's not a total measure. We call such a measure a pick up measure. And pick up measure is like an introduction for the song. And it doesn't always have to fill a whole measure. And actually it pick up measure, always have, has less beats than there is in the time signature. In this case, three beats before we start with part a. It could also be two beats. One beat can be everything, but in this case it is three beats before we start with the a part. So that's a pickup measure. And actually, you see that at the end of their repetition that this same three notes that B flat, D and F are repeated. So actually there are, again, an introduction to a new beginning of an apart. In the next lecture, we will finally start to play Blueberry Hill. And I will then not display anymore differs lime soda melody. And you will not see to pick up measure, but in the play along file, you will hear those three notes so to pick up measure. But now you know that it's a pick-up measure and that you will need DOS three notes before starting the song. Okay, see you in the next lecture. 71. Blueberry Hill (part 1) - Right Hand: We will start with the right-hand of Blueberry Hill. Now, first of all, I already told you that the a part which we're going to do now is not 12 measures as usual, but eight measures. That's one thing. The second thing is that we don't start on the one chord, so we don't start with the B flat chord, but we start with the four CT, the E-flat. Now anyway, I decided to put now the court symbols in sheet music, something I haven't done till now, so that you can follow it better because it's a bit strange form. Since it starts on the forecourt. You'll see that I, as I told you in the last lecture, already, took away the melody. But be aware that there is a pickup measure with three notes. Now, when we're going to play it with the play long file, in a while, you will hear it. There's an introduction and Dan, the pig up measure, we'll, we'll start and then you start to play, but That's for later. Let's first concentrate on what we actually have to play with the right-hand. It's actually very simple because it's the whole time triplets where we play almost the whole time. So we start with a forecourt, and it's the whole time. And dare I say it already, the first two measures. So it's when I would count 1234 instead of the triplets, it would be 1234123. And that's your first two measures. So very simple, just the E-flat major triads in second inversion. Then we have two measures of B-flat, so of the one court in root position. So again, that's a typo. Let's so exactly as with the E-flat major court, to measures full of triplets. Then we have two measures of the five court. So df, which will play in first inversion, exactly the same rhythm. So triplets the whole time to measures tempo. That's, that's, that's, that's, that's all. So we have already the first six measures and we have only two measures left set. So that's going very quickly. Now, the last two measures, let me first do measure seven because the whole measure is one courts. But the first two beats is the one chord. And the last two beats is the, is the foreign courts, the E-flat courts, right? So we have two times two beats of B flat. So it's, sorry, Trent bromeliads, that's 2-bit v8, say 12. And then two beats of E flats of the 4D CT, I bound. Let's play ball that I saw. The whole measure is 1234. So that's the seventh measure. And the aids measure is just this. The B flat. So to one court, only on beat, one with staccato as you see. So let me play the whole apart. Let me play it just okay. There we go. 12341234123412341234123. Watch out 2341234. And then you go back to the beginning and you play exactly the same thing. But be aware you have to take ending to know. Now, what's the difference? The only difference for the right-hand is that the last staccato plates, one chord, B flat chord is just a whole note. And that's all. Okay. Yeah, I think that we can just play it with the playlist file, so I will put it on. Be aware there will be first an intro, and that's about 12 seconds long. Then you hear a silence. And in that silence you will hear the pickup measure so to three notes. And then you start, et cetera. In this introduction, there's a piano playing and doing actually the same thing. The triplets. You don't have to play a dairy. There's another piano doing it for you. So you only play after the pickup measure there, so let me put it on. And after two rounds, this play along file goes to part B. But as I said before, we're not going to do Part B. That's for next lecture, but this is already the play along file for now and for this next, not next lecture but a lecturer further in the course where we'll do w0 part. So you just stop it after two rounds of a and I will also stop it after two rounds of eighth. So whenever we go for the introduction and as an intern and our sense of compassion and power and politics. Stop that. Play along file. And yes, so you're just going to play it with the play along file. It's 80 beats per, per minutes. If you want to try it out for slower, you do it with a metronome and then slightly increase the tempo till you are at 80 beats per minute. And then play it with the playlist file and after that, so you stop it after two rounds of a. Okay, in the next lecture, we will do the left-hand ad. So see you in the next lecture. 72. Blueberry Hill (part 1) - Left Hand: Let's do left-hand of Blueberry Hill. So you see here left and right-hand displayed like in the last lecture, but we look only at the left-hand. Ok? So it starts with a low E flat, and that lasts for one beat. So you see that right-hand has triplets. So you can say triple that. And then we have a pause. And in that pause, the pause is actually only trip long. So not to triple that because on the left you have already the next note, which is a G, So its tip on that trip or lead. So Triple J is a pulse, and then on the left you have the g triple, triple that. And then we have two times. Yeah. I used to notate it before as 2 eighth notes. And I told you the lesson, swing rate ratio. Why? When there are triplets in the other staff, Why I don't write it as 2 eighth notes anymore but as, as triplets. So in, with a whole tone and an essay, not a whole tone, a quarter notes and eighth notes, which are together one beat, but they fall together with the tree and the lead of the triplet. So it's, it's a B flat table that at the next 2 eighth notes also JPL lead. So the last two beats beat three and beat four. Our table LED, LED, which makes the whole measure, and I will count it with triplets, tip bone that's drip, drip. And that's the rhythm that we will use during the whole song. For the left-hand. That's, the rhythm is 1234. Drip, drip, drip, drip by drip, drip, drip on that. And that's the first two measures of E-Flat. And that rhythm you continue to hold time. This is on the E-flat major core test. So what could you do with fingers? I did it with four to one. You can also do it with 5.3.1, perhaps it's easier. So that's chip, that's tempo, drip, drip, drip, or let's print boneless strip. And then you go to the B flat, you are on the B flat, so you have to make a little jump with your hand from your thumb to the little finger. So that drip, drip, drip by, drip on that. Those artists who'll be fled Measures. Now you go to the F, Jake Bartlett, jet bow. Let's prepper labs, jet bar, bedspread, prolapse, drip by drip, drip. Well, that's the whole time to same rhythm. Play it one more time. The f part guide from the B flat part to the F part, you have to make a little jump because you ended like this, that you have to go to the app. And then the last two measures are a little bit different because you have to be flat and the E-flat in one measure. And let me just break its tip bone. That's that's tip on. Let's flip a lot. And I already played the first note of the fourth of the last measure of the measure. So it's paid with finger for because we come from the F. And then you have your with your thumb on to see the best is to go with your ring finger on the B-flat. So that's bone, that's bomb, that's clip ball, let's jet. But you see I say for a quarter note also triple it just for it's of course a quarter note. I could also say like this, 1031. Okay, and that's actually it. Let me play the whole A4. So that's as follows, 1234. And that's the first ending. But when you read a second ending, the only difference is that you don't play this last B flat as a staccato, but as a whole note, four beats law, and that's all. So let me play it with the play alone file. Now, display a long file is a bit especial one because it's one where I left debase out. Because you're going to base with your left hand. Starts in the same way. Introduction, there will be a base and a piano Indian introduction. And after the PEA GAAC measure, you will have to do to base two routes and then I stop it. So there we go. Action. Okay. Let me stop it. So it gets it's a practice. It's, you know, it's set to 80 beats per minute. So you can first do it with a metronome slower and then slightly increased. The tempo is always still. You are at 80 beats per minute. Downplay it with the play along file. Okay, that's it. Next lecture, we're going to bring both hands together. 74. I, IV and V chords in the key of D major: The next blues we will do is a very nice slow blues in the key of D major. So what we're going to find out is, what are the 1245 courts in the key of D major? And of course, D is the one courts. De Corte, root position, first inversion, second inversion. So what's the forecourt? Let's go up to D major scale, 1234. The four chord is G CT. We note a G chord, root position, first inversion, second inversion. So what's defies court? Let's again go up the D major scale. 12345. Hey, that's a major. Remember that we put a major already in, into diagram once, where we had C in the middle and then that scales with flats on the left side and the scales with Sharps on the right side. And we sold it to a major heads, three sharp notes, but we still don't know a major how we didn't do the a major scale yet. So, well, that's for the next lesson. In the next lesson, we will do the eight major scale. 75. The A major scale: So let me bring up the major scale formula so that we can directly start with the a major scale. So we started on a route, go up one whole tone to be one Holt O to C sharp, to D. Now a whole tone to E, a whole tone to F-sharp, a whole tone to G-sharp, and finally a half tone back to the root a. So the eight major scale consists of the notes a, B, C sharp, D, E, F sharp, G sharp, a. And of course, those aren't sharp notes and not flip nodes. And you know now how you can find it out with one of the two rules. So I let it to you so you can find it out yourself. Okay? Yeah. So I will bring up one more time here the, the diagram where you can see the major scales that we have done till now with C in the middle, then on the left side, the major scales with flats. So F with one flat, B flat with two flats, and E-flat with three flat notes. And on the right side, the major scales with sharps. So that's first the G major scale, one sharp, D major scale with two sharps. And indeed, the a major scale with three sharps. C sharp is one of the sharps in the a major scale, the F sharp and G sharp dose RT, three sharps in the scale of a major. For the finger positions. It's very simple because it's exactly the same as we see major, G major. So I will do it quickly. And as always, you can look in the, in the files, image files, in the, in the resources so that you can see the finger positions. So what I will do, I will not talk. We'll just play one and up and down one operative two octaves, right hand, left hand. You watch Ali and you compare it with the image files. Down. We go to work diffs. Let me do left-hand. I will start what octave lower? Walk diffs. And again, you can see the finger position is for one octave, two octaves, left hand, right hand in the image files that are in the resources of this lecture. Also in the resources of this lecture, as usual, the MP3 play along files for one octave, two octaves. S3, different speeds, so that you can practice at low speeds and middle speeds and high speeds. So practice it well left-hand or right-hand. And I see you in the next lecture where I will do the, the eight major chords or try it, I should say. 76. Exercise: The following major scales: C, F, G, D, A, Bb and Eb: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 76. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 77. Chords: The A major triad: Okay, now that we've seen the eight major scale, we can determine the eight major triads. Now as you know, as always, a major triads are formed of the first, the third, the major third, and the fifth in the key of, well, in this case a major. So let us see the a major scale. The first five notes are a, B, C sharp, D, E. So the first third major, third fifth are a, C sharp and E. So this is the a major triad. It's as easy as that. Okay, after the a major triads, which has obviously in root position, we can determine the all the other positions. So we take, as usual, the lowest note, an octave up, and this is the a major triads in first inversion, C-sharp, E, a. And taking up into C Sharp and octave takes us to the second inversion, which is B, a C sharp, root position, first inversion, second inversion. And that's the a major dry. It. 78. Exercise: The following major triads: C, F, G, D, A, Bb and Eb: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 78. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 79. Blues progression in the key of D major: So we know already to one to four and to five chords in the key of D major. One chord, D major four chord, G-major, five court, a Major, Beethoven on group position, but you should know them, of course, in all the inversions. So let's make the boost progression in the key of D major. And well, it's always the same. In any way for the basic blues progression. Later we will do also utter blues progressions, but for we're still on our, on our basic blues progression. So they are there, they are one to four to five courts at UPS. Let's fill it in. One for two, D to G, and five for the courts. So there it is. This is your blues progression. That's all. It's as simple as that. Now, of course, I repeated every time that we're doing a blues progression, practice its right-hand, left-hand. In all the inversions. Yeah. So for example, this inversions, that's a one port root position, four chord. What does this second inversion and the five chord in first inversion, et cetera, or a desk conversions. You try out a lot of inversion, so a lot of combinations of inversions. As always, when you play with your right hand, the courts you can do with your left hand. The root notes. Of course, when you play with your left hand and the courts, then your right-hand has arrests. In the resources of this lecture, you find dip lay low file to play with the D Blues with it, D major blues. And I will now not play the blues progression. Show you how to do it because it's the whole time to same thing. Just follow the blues progression as you know it. Follow the play alone file. And Brecht IS your course right-hand, left-hand. And when you've done that, then you're prepared to do the slow blues in D. And we will start with that in the next lecture. So see you in the next lecture. 80. Slow Blues in D - Right Hand: In this lecture, we will start with the slow blues in D, and we will start with the right-hand. The slow blues in D has a blues progression like we're used to sew to normal blues progression, the standard blues progression as we did in the last lecture. So it means that you can also use the Play along file from the last lecture. Okay, let's have a look here at the first line. And you see that there is a pickup measure of one beat. So that's the end. You see, we're the whole time play two notes at the same time. So that's an F and B. Now you see that normally you would expect an F-sharp, but there is a natural sign before. Yeah. So so actually when you count it, it's 1234. That's the first measure to pick up measure. Only on beat four. You play those two notes. So let's go to the first, let me call it a real measure. The real, the first full measure. And we see there denotes f sharp and D. Watch out. This is again an F sharp because it's a new measure and you know, that's DM. Accidentals. So sharps, eyes, flipped signs, but also natural signs, are only for the measure itself from the moment they're displayed until the end of the measure. So this is again, in this first real full measure. Let me call that measure one. It's it's an F sharp and so, and it's three counts. So 123, and then again we have FB, watch out, again, a natural sign. So let me play the the pickup measure and the first full measure. So that's 12341234. Okay, so the rhythm is not difficult at all law. The difficulty here is that we have to play two notes at the same time. And secondly that we have to watch the accidentals. So in this case, the natural sign at a time signature is of course, two Sharps, F-sharp and the C-sharp. But you see, because of the natural sign, we display it sometimes as an F And some days sometimes as an F-sharp. Okay. Let's go to the second full measure. Yeah, that's simply F sharp and a three counts. So 123 and on count for beat four, we have again the F and the B. So let me play. From the beginning. 1234123. 41234. Okay, so let's go to the third full measure. So it starts with F sharp, D. Only one beats. Next beat. Again, this one that you've seen before the whole time. F, b. And we're again on F sharp D, you see the sharp sign. So the natural sign is not valid anymore. And then we have 2 eighth notes. Watch it's, they have to be swung. Yeah. So, so with triplets Phew, again, an F, an F and a, B on the first eighth note, and the second aids note, F sharp and a I. So you see it changes the whole time from F to F sharp, F sharp, E, F, F sharp, F sharp, et cetera. What sheets, all this accidentals that you see in this measure. So the whole measure would be 12341234. And triplet feel 12 b four at you hold those two notes into the next measure where they are countable 12, right? So the next measure is simply one to rest. And what do we have dire? We have an, a sharp and E. Beat four. That's all to hell. All measure is this. Sorry. F sharp a during the first two beats, one to rest for. Let me play from the beginning. So that's 1234234123412341234. Okay. Let's move to the next line. So we come, came actually from this a sharp and E, and we go down to B and g. You can take the a flat at the 0s with fingers 13, and then you can take the b and g with one at five. Yeah, you could also do like this. Then you can very nicely link this and this now together. And this note, but I think that's enough to do it with finger 1315 because you can make a little jump here. And this one, with this one, your linkage into the next two nodes had. Okay, let's start with that, that measure. So that's 1234. Again, the same, a sharp and E and beat 41234. And then in the next measure, we have B and D, 123, and then we're back to FB. Let me do dose to measure Snow's 2 first measures on these line together, 1234234. Then next, two measures are almost the same as the last two measures into first-line. So that's again 12341 to rest. And Dan, these last two notes on beat four are the C and the F sharp, right? You see that the C has a natural side because normally, according to the time signature, it should be a C sharp, of course. But now, so let me do again this measure at 34 of this leg. Of course measure three is the same as as in the line tool. So that's, that's easy. 12341 to rest for. Okay. Let me play the whole line. So we came from line one with this court and then 1234123412341234. And then we go to the next line. So we come from the C, F sharp. I take it with finger 14 because then I can go very easily to the C-sharp and a in that first measure of the third and last line. So we come from D, C, F sharp with finger one at four. And then with Fair 25, I can very easily go to the C-sharp a. So that's 1234, right? This is the same a sharp and E as we've seen before. That's gotten to first measure is 1234. And then we go to the second measure, 1234. Again, the F and B flats. What shots do natural sign. Let me play again differs two measures, 1234123. For the last two measures are what we're used to. Already. 123412. Rest, rest on beats 34. We know measure three already in measure four is actually easier because you just add it with denotes that two knows that you hold from measure 31, I sorry. 341 to rest, rest. Let me play the whole third. Lang. 1234123412341 to rest, rest. And then you can start a new round. Now you'll see that the news last measure, beats 34, are tourists. You could eventually, in beat four of these last measure, again, play this FB. It's not written here. But when you are going back to the beginning of the song, you don't play the pickup measure anymore. In the pig up measure, you just had this F, B. So eventually you could play it in the fourth beat of this last measure. So Dan is last measure, or the last two measures would be 12341 to rest for, and then you can start a new round. It's up to you if you want to do that or not. Ok. I will play it with the play long file now. And what I will do is I will play it one round, and I will do that in the end of the round. This last beat, the FB and play the first F-sharp d of the first full measure in line one and then stop it. Okay, there we go. Not very important. I forgot to say that before I started to play along track. But you heard probably that's the three clicks of the metronome. Actually it's for cliques because equals it's a four quarter time. But after three clicks, I start it on click for already with B to four of the pick up measure. And so your heritage metronome click Dick, Dick, Dick. And I started on click for otherwise it will not. You will not be on the right. You will not start at the right moment. Let me be sure. Just repeat the beginning and then I will stop it after a short time. So listen well, now you hear it, it's click, click, click for one. Don't forget that. Ok. So practice it well, first with a metronome slowly. And Dan, you've got to go up to 80 beats per minutes in which the play along failures. Okay, in the next, next, in the next lecture, the left-hand. 81. Slow Blues in D - Left hand: So let's do the left hand of the slow blues in D. And actually the left hands better is the whole time the same. So once you understand the rhythm of the first measure, well then you're actually can play the whole rest. So we start with the D chord. And that's why you see that denotes what shout to the key signature at F sharp and D sharps for all the Fs and Cs in the, in the sheet music. So it starts on a low De Dan. This second note of this first group of eighth notes, is that an F-sharp? And you have the third beat, gotta quarter note, which is an a. And then you have the last 2 eighth notes which are F-sharp a. That's not what you're actually doing is outlining the D Major chord. So root, major, thirds and fifths. Ok, about rhythm. So let's first assume that a quarter note and the first eighth notes were not linked together than it would be one, J, three, J. Let dum, dum, dum, dum, dum, dum. Or you can also say 12341234. And now of course, days first quarter note is linked to the eighth notes. So what you actually have is 12, and you understand that's not 121234. So the whole rhythm is then 1234. And you can also say it with triplets. One trip but let j. Or if you want to say to hold time triplet, you can also say git, fit. So watch out this first two linked notes. It's drip, drip. Let jen, lat, lat, lat Latin. So this first F Sharp has to be played on the lead of the second triplet, jets, lat, lat. And then again, lads trip lab. So 1234. So practice that. You can first do it slowly and then speed up till 80 beats per beats per minute. And that's so be sure, did you do that rhythm? So actually we've done all the four firsts. Measures, default first, full measures, and don't count the the pickup measure. And those are the first four measures of D Major CT. So we can go to the next line, which is exactly the same rhythm. Only the first two measures are on the G chord had a forecourt. So it doesn't start all the debug on the G. And we're again outlining the G-Major chord. So just G, B, and D major third and face exactly the same rhythm. So 1234123 j. Well, I don't have to explain that anymore. It's the same rhythm. And then you go back to the d. And that's our two measures of G chord to a measurement of the D CT. That's so to whole second line is simply and then we go to the third and last line. So we end it on the, on this a. Then you have to make a little jumps because your work with your thumb on the air, you have to go with your pinky on the a. But the rhythm is again the same lattice, so you're outlining nowadays, a court's wrote major thirds and fifths, a, C sharp and E. Then what shouts C-sharp? It's into the key signature. And you go back. You go to the second measure, which is again the G, CT. So the first two measures. And then you go back in measure 34 to a D chord. And that's all in his last line, are little bit more change agents bogs. So that's a onetime, a court, one time, two times D chord. And it goes back to the first line, which is again the DC Court, of course, for measures of D court. So that's actually all the things where you have to pay attention to, of course, the rhythm. But I explained that already. Bad's going from the fourth measure of line 12. The first measure. Of line two. And with the force fourth measure of L1, I mean the last full measure. So it has going from the D ct to the G courts are. And you can link them together because it comes from the a with your thumb and then you can go with your pinky on the G. So and then you go back to it, a d, But that's easy. But if it's just one octave, when you really have to small hands than you have to make a little jump. But I think for most of us will be OK. Then from there last measure of ln T2, that's going from the D to a chord. As sort of the last measure would be you have to make a little jump from your thumb to your pinkie. So practice old OSA transitions also. When you've practiced that. So the rhythm, the transitions and everything, Dan, you've got to play it with their play along file. Now, display a long file is not the same as in last lecture. Why not? Well, just because it's a play along file with our debase. Because your blade ablate days with your left-hand tab. In the last lecture when we practiced the right-hand HDR was a base because you didn't play the bass with your left out. So this one without bass and you can't use that play long file also for it in next lecture, where we're going to play with both hands together. So let me quickly show you how to play it with a play along file. Watch it with your left hand. You don't have to play the pickup measure. So I'll you start after four counts of the metronome 1234, and you start with a etcetera. Okay. Let me put it on. There we go. Okay. And you route dot. Let me stop it. Okay. Okay. Bracket as well. And I see you in the next lecture. 82. Slow Blues in D - Both Hands together: We're going to play slow blues indeed, both hands together. You have breakfast, both left-hand and right-hand. So let's bring them together. So here we have the sheet music again. And of course you start with your right-hand before. So on the pickup measure. Now, let me go to the first real full measure. So this is how it should sound. So how should you play it? Of course, you play the left and right hit at the same time at bead one trip, that's three. And on the for you play the right-hand and the left-hand to place the end of four. So 4343 to that. So try that several times. Slow it down as much as you like for JetBlue. Three. Okay? So you can play that slightly increase the tempo as always. And then left. Beat two is exactly the same rhythm, only other notes in your right hand. So that's again trip rad three. Or you could also say 1234. And if you find that easier, so 123. And let me play measures, welded a pickup measure at measure 12. So i will count 123, etc, for 12341234. Right? So try that several times. I will praise even slower. 123412341234. And so practice that several times until you master it well and increase the tempo. Now, measure three is actually the most difficult measure of this whole blues. And it occurs three times, three times in every line. It occurs in measure three. So let's look well at measure three, I will first blade ones for you slowly. 12341. More time. Okay. So of course you start with both hands together. Under 12. You leave just your left-hand where it is and your right hand on the two plays this one, so it's two. And then on the end, you play the F-sharp. Let's first play those first two beats. So that's 1234. And only start those two beats. 1234, right? Okay, tried it several times and then on beats three, you do again, just That's easy. Answer. Then try the first three beats. 12341231 more time. 1234 bonds. And okay. So again tried it several times and you have only beat for the four end, which is just both hands at the same time. So let's try to play the whole measure. 12341234. Okay? And they can speed it up 1234. This was even more than 80 beats per minute. I think. You have to go to a tool till 80 beats per minutes, but you can start, of course, much slower. Let's go from measure three to measure for. So we have 123434, 123. And that you have on the right-hand already before you hit those two notes. And with the left hand, you do four. And if I will do only beat measure for, so we end it with finger 23. So 23. Let me do the whole measure. 34 again. 12341234 and yep. Let me do the whole first line. 1234123412341234 out 234. Okay. Try that several times. I sometimes make a little mistake. I see, but it's because I have to count loud and play at the same time. And that's not easy. Ok, next line. So we come from this and we have to go with our pinky on the G, and then we have to add 34. So exactly the same rhythm as the first measure in the first line. So 234. And so, just like in the former life, practice it several times, sort of slow, then more quick. I will do first measure and go into the second measure, 23234. And exactly the same rhythm as I've just second measure also 1234. And exactly the same rhythm. Again, I will do is first to measure and go into the third measure. And the third measure is exactly the same as the third measure into first line. So you can pay it in the first line, then you can also play it in the second line. I will not, again, in detail explained this third measure because it's the same as I sat in the former life. So we go from the first measure into the third one to measure 123. That's what I wanted to say. 123412341234. Okay. And then of course, measure four is again 1234. So be prepared for the D and F sharp. Let me play the whole second line. Now it gets to the third and last line. So you have to make these little jump with your left hand. A on that thumb, on the last eighth note of light. To, to your pinky on the a in line three. Same rhythm. So that's not a very difficult 1234. And now we can go to a measure to 1234 at always the same rhythm. So that's not difficult. Let me do the first two measures. Will count with it. 1231234. And sorry, I forgot to say add. Then we go to measure three, which is exactly the same as we are used to. And then the last measure. And as I said in a former lecture, you could eventually on these last 2 eighth notes, play two notes, F and B, as if you were to play the D pickup measure. So then in that case the last two measures would be and that you start a new route. Okay, let me play the whole third line. And again, I played this last F and B even if there's no traits. And if it would be if you played a play along track and you play it three times than from the first rounds to the second and from the second to the third route, you could play this. You don't have to, but your code and Dan, on the end, you just play when you lay to the third round. Dan just ended like this, for example, that you don't have to repeat. You don't have to repeat that. Okay. Let me play it with the play along file. I will play just one round and the beginning of the second route, etc. Okay, so, yeah, this is really one blues where you have to watch the left, right hand coordination, but it's a very, very good exercise. So practice it well. And if ever, you can't do it, doesn't matter. You can just go on with the course. So see you in the next lecture. 83. Blue fifth blues - Right hand: You remember perhaps debt quite awhile ago we introduced it blue Third. And the blue third is actually a minor third, as you know. So in the key of C, When we have the C, the first three notes of the C major scale, C, D, E, then the e is the major third. E flat is a minor third. So in, into Bruce, we call it often the blue third. Remember that I wrote to blue thirds very often not as a B flat, but as a D-Sharp. You see it very often also a rating as a, as before, as an E-flat. Okay, now, I want to introduce in this lesson to blue fifth, and it goes in a similar way as with the blue third. So let's see the fifth. So in the key of C, That would be 12345. The g is the fifth, as you know. So the blue fifth would be the G flat. But again, I will rather write it as an F-sharp. Now, this blue third and is blue fifth, give some more color somewhere. Bluesy feel to the blues. So that's why we use them. Very often. They are even. So when I speak of the key of C used together. So for example, the blue third and a brief fifth resolve to the third and the fifth. You know, that's a blue third also very often resolved to the normal third and a blue fifths also very often, not always, but very often, resolves to the fifth because it's, it's still some tension that you create and tension has to be resolved. In this case, the normal fifth degree, normal third. Okay, so does the blue fifth. Now, let me introduce the next blues, which I have called Deep Blue fifth blues, and it's a blues in the key of C. We will, as usual, start with the right-hand. Later we will directly left-hand and after-death, both hands together as usual. So you see that it starts with a pickup measure of one beat, just to see. And then we have, we use the blue third and blue fifths together. You see the D-sharp, D F-sharp. And it's directly results to E and G. So you have, when you go from the pickup measure. Okay? So you see when you have this swing rhythm, then it would be for on the lattes and play the E and G. And then you hold it for the other two beats, so beat 23. And on beat four, you do depth on that. So in total we have 123. Let me count with it. 12343. And instead of four, I should have said also triplets. So let me do it again. 12343. So try it adds several times. So I did already the second measure, the second full measure. That's again to, let me do it again. 234. So when I do again, the 2 first measures together with the biggest measure. So for chipper led to 34 and Sarah, Sorry, I should say triplets for JetBlue led to three Tripper ledge drip or let's do 34. Okay. So I did already measures 34. And again it's the same rhythm. So, so blue fifths to the G in measure three to three, and then you have blip, but with a grace note. So G, 23123 and then one, you go on the F. And the F. Actually, I anticipate the F court, which comes in measure four. So measure five, I mean. So let me go on to, no, let me first actually play the whole first line. And then we go to the F chord. As I said, this last F on beat four of measure, of measure four is I anticipate the F chord and indeed f quarts. Let's go to the next line. We do this. So what is it that I could do? Better take this fingering, sorry, 2435. So this is actually also the blue Third and the blue Fifth. Remember the fifth is the C. So half don't belong. And you are the b. So. 23 and then drip or not. Remember that this last g is still at G-sharp and because of the accidental in the beginning of the measure. So we have and I did the second measure already. So okay, so those are the first two measures. And again, we go from the blue third and blue fifth to third fifth. And we use the normal fourth, blue third. And then in the next measure, go to the real third. Okay, so forth. Beat of the second measure. I play the C because I anticipate already to see CT in the third measure of this line. And what do I do in the third measure? I played already the first note of the fourth measure. So that's actually I should say yes to let me count otherwise, J two and then 234. So let me play the whole second line. And is G anticipates that G courts that will follow in measure nine. So let's go to the next line. When I play, there is actually the blue third at the blue facing now in the key of G. So the third and the fifth are the B and a D. So I lower both with a half tone, and I'll have the blue and the blue faith. So, SO I started already with the second measure. So to prove that 234, that's the first measure and the second measure. Tip on that too. Let me do the two measures. The first two measures together, 234234. And again this c, the second measure anticipates the to see courts that are in the last two measures of the blues. And what did we do in the last two measures? So that's Jaipur led to paper. Let's jump on. That's been to rest for. So Jaipur, let's add the two you hold it. And then b3 again, shaper, That's beat four also triple that tip or not to do it, bro, that's topo maps one to rest form. And this last C0 into fourth measure, into fourth beat of the fourth measure anticipates again the sea, which comes when you play a new round. So for the beginning of the blues. So let me play the whole third line. And then of course, when you go back to a new line, you start again, et cetera. So yes, we know, oh yeah. Before I forget, you see ending one and ending to how you see also the repeats. Ending one means that you go back to the beginning. And actually I say ending one and ending too. But if the play along track, you play it three times, you can play the ending one twice. So for the first run, for the second round and for this third route, you can play ending too. So then you end like 234 and the blues. Ok, let me play it with the play along track. So let me put it on. And their second round, I will stop it for now. Okay, now this play along track is at 80 beats per minute. But I think that this blues is much nicer when we paid a little bit quicker. So I will put more play along files here in this inner resources of this lecture, I will put the 80 beats per minute, a 100 beats per minute, and 120 beats per minute. So you're slightly going up in tempo. And yeah, if you can manage it on 120 beats per minutes, great. If not, no problem. You can use the other play alone checks. Okay, that's it for now. And in the next lecture we will do the left hand. 84. Blue fifth blues - Left hand: Okay, the left-hand. Now, this left-hand doesn't seem very difficult because it's only outlining the whole time the court, so C court, with the root third fifth, the F chord root third fifth, and the G chord root third fifth. So for the notes it's not difficult, but do read them. You have to watch out very well. Because if you haven't done this before, it's in the beginning, perhaps a little bit challenging, but when you know it, it's as simple as what? Okay, so let me see. So you see 1.5 beat firsts. Headache, the quarter note with a, with a dot. Then you see a, an eighth note with a quarter note, which is actually the same length. It's also coordinate with a daughter. It's also 1.5 beat. And then at the end, one quarter notes one beat. So 1.5 plus 1.5 is three, plus one is four. So that's exactly four beats in a measure. Now, how should you count this? If it would be a straight rhythm, you could again do with your hand clipping on your knee. Check, check, check. Check. And how do I count it? 1234. So basis on the one side, you count 12. And so this one is on the end of 234, and so this one is on before. So you do 1234 and alright, so practice that several times and you can count out loud. So 12341234. And if it's, if it's difficult to count, you can also say doom, doom dot instead of 12. And you didn't have doom, doom dot, dot, dot, dot, dot, dot, dot, dot. So this is what is on the top. Actually offbeat. This is on the beat. And this is offbeat because it's other top when you're adding up an upbeat. So dot, dot, dot, dot, on the beat. Dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot. And you can slightly increase the tempo. Dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, etcetera. You know what I mean? Now? When you would swing it. You just don't say dong, dong, dong, dong, dong, dong dot or with 1234. You can take both. So it would be one, F2, F3, F4 to F3, F4, or dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, or one. 34123. So you have to get used to this rhythm. So maybe it takes some time to get used to it. But anyway, important is of course, to start slowly and took out. You really have to count 1234 and you can do it anywhere. You don't have to sit behind to piano, right? You can do it when you're eating, when you're whatever. Just do. Say 1234 and with your hand, you clip the rhythm, 12341234. And ok. When, once you get that rhythm, then it's not difficult anymore because you just play with them. So we have the first light, of course, four times the same, 1234. And then second line, two measures of F and two measures of C. So that's 1234. So I guess the whole measure, line to line 31, measure of G, one measure of f at two measures of C. So that's 1234. And that's all arrays. Ok, this was the first adding 40 seconds. I think you're just add with a halts on all see. So, yeah, just practice that. And of course you have to practice the transitions from ESA from C to F. That's from the first lecture of the second line. In the second line from the second who was third measure from FBX Lucy. And also practice those transitions, of course from C to G also that's from the second to the third line that you see you have to make a little jump there because ads with your thoughts. You go on with your pinky. Okay, once into third line from G to F and F back to C. So that's, so practice all those transitions and done. You're ready to play with the blade along file. I will put again three speeds, 80 beats per minutes, hundreds and 120 beats per minute. This is another file then in the last lecture, because in this file you don't have the base because you play the bass with your left hand. So let me play it with the blade lung foul. And that's a new route. Okay. Yeah. Practices as well. And if you want to stay at 80 beats per minute, no problem. If you want to really speed it up to a 100 or even 120 beats per minutes, then do it. Okay, in the next lecture as usual, both hence together. See you in the next lecture. 85. Blue fifth blues - Both hands together: Let's now try to play both hands together into blue fifths Blues. Okay, so let me take the notes. Here they are the first line with the pickup measure. So yeah, when you play it, it would sound differs measure. So how do you count it? So of course, this is counted for the pickup measure. As you know, you do git. Add what you say to Git. I also have to play the bass notes. See Japan that yeah. So that's the beginning. For Japan that okay, let's go on for much clip or not. That's the next one. And so Jen, that Jim per let for Jack, Tripper, Matt, JPL lead. Doubt, deposits the Shiga. Okay. Let me count it again. For jackal jackpot. Oh, that's so bad that I didn't count it in a steady way, but it was to show you where where you have to have to hit notes. So for Ted Ladd, now you have one more drip or lead where nothing happens. And then the last bullet left and dry it had together one more time. So try that slowly and then speed it up slowly. Or that's not bad. And then you can play it's quicker and quicker. But let us first go to the next lines. The second measure is not bad. You login from the left hands. It's in the second beat into let off the Draper Lab. That's trip. Oh, let nothing happens. And then the last chapter, Jaipur, that's bad, that job. Or you could also say four. So this measure is that bats that let me play the first two measures with the pig up patrons, of course. I can also say triple it into pickup measure if you want it. That's that's that's typical. That's perhaps I should do it slower. That's that's, that's that's that's that's ok. Lasso. Be aware where every note belongs, in which drip or lead all the tray or on the let. Let's move to the third measure. I will do it first without degrades note. Then it looks very much like the other measures. So it's that's, that's, that's one more time but slower. J. J, that's that's that. That's all you have to go into whole time. J but J, that third triplets, I could also say to third beat. Nothing happens at watch. Listen one more time and paying attention to that. That's not bow last is therapeutic trip like nothing happened. Happens. And then take that shape boat trip bow. Let's check that. Let me now introduce the grace notes. Note j, j, j, instead of and that you speed it up. Genuine. Jake, but let's round that to fourth measure is not very difficult anymore. You have still the see, you hold it from the third measure. But Chip, that's purple lights and sorry, this had to be an F s. So we got, we have to see that we hold from the third measure into the fourth measure. J, J dot git button downs that. Yeah. Let me play the whole first lying. Jay Jay, Jay Jay Jay. Jay. Jay. Jay, Jay, Jay, home. That's okay. Let's move to the second line. So we end it on this f In the last measure in the first line. And now we go, et cetera. It's the same rhythm. So it's the same rhythm as the first measure of the first line. So it's JIT bug, that's again into third ship lips. Nothing happens. Watch me and, and, and pay attention to that. But let's treat bone lab cheekbone, dot-dot-dot. Yeah. And that second measure is jet. Jet, but that's okay. Maybe do two measures. That desk reported that one more time at j maps jacqueline dot git log map Check button, but that's okay. Dan, we go to the third measure and that's a little bit different because now in the third triplet, we have some movement into right-hand. Before to third triplet was always quiet. You tie, we stay on the node or it was at rest. But now we have git-pull Matt, this is still the same than we got. So let me do it again. That shape a lot. Then you stay on this note. You don't move it, then you get. But it's a little bit tricky sometimes. That gender played a little bit quicker. It sounds as follows. Now you see this. And then quickly after this notes, you hit this button, that's right. It's very quick. So it's once again that Jake Jake brought that. Let me do it very slowly. Matt. It's a bit tricky. Shoots. Try it at several times. So if it's difficult, slow way down and count well, that J bone mass Draper liked you don't do anything with your left hand and it jet lag. That was the fourth measure. That's an easy one. And of course it's the same as we did before in the fourth measure of the first line. So when we come from measure three, answer when I do it very slowly that it's not j equal. Took the lead gen moments. Let me do it a whole second line. It starts on F. Okay, let's move to the third line. It's the same as before. It's just the same thing in G. Shaped bone that work for lots. Get bone that's, that's a guide into thirds droplet. Nothing is happening. Let's measure after is an F. Again, go third root, fifth shaped bone that's not. So juke measures to gather our object code and that's important, that's all that's done. We have again, the same measure, which was a bit difficult what we had before. So let me play the whole fourth line. That's the whole fourth and last line. And of course, from that point, you start a new route, et cetera. Okay, let me do it with the play long file first at 80 beats per minutes. That's right. Ok. I'll play it once in 120 beats per minute. Moment. There we go. Of course you don't have to play it at 120 beats per minute. You don't even have to play that 100 beats per minute, but 80 beats per minute. But if it's not possible, no problem. You can of course, go on with the course, but would be nice if you manage to do it. Okay, see you in the next lecture. 86. What about other Time Signatures? - The 12/8 Blues: Till no, I've only been speaking about the four quarters times signature. I haven't said anything about other time signatures, but of course they exist. Like, for example, the three-quarter time signature, which is also quite common. But I have to say that in blues it's not that common. I didn't say that it doesn't exist because it's exists blues in three-quarter time. But as I said, it's not very common. But I'm sure you've heard before songs in three-quarter time. Of course, there are three quarter notes in one measure, so three beats and every beat as a quarter note. So 123123123123. Ok, but since three-quarter time is not so very common in boots, I will not speak about three-quarter time. Another time signature that is quite common in blows, is it 128 times signature? 12th eight means that there are 12 eighth notes in one measure, but of course it can be a combination of eighth notes, quarter notes, and any other note duration that make up a total of 12 eighth notes. So in 12 months, time signature could be counted as 123456789101112, et cetera. And actually this is quite similar to FOR triplets in a normal fourth quarter times signature because then you would count drip, drip, drip, drip, folate, which also makes 12 notes in one measure. So you could ask yourself, well, why didn't we use 12th, eighth times signature instead? And that's a very good question. And I could give two answers to this question. And the first is, when a blues is very fast and it would be in 12th, eighth time, then you would have to come very quickly, 1234567, and it's almost impossible. So that's one reason. A 12th time blues is more for a slow blues, but it's not the only reason. Perhaps you remember that in to lesson about swing a ratio, I told you that this swing ratio between two swung eighth notes is not always exactly two-thirds, 1 third its variable. Now, in at 12th time blues, the length of those eighth notes is fixed. The only ratio that you could make is two-thirds, 1 third, and that's not always what we want. So in that case, we would rather use triplets in the fourth quarter time signature. But for example, a blues like Blueberry Hill could very well be written in a 12th times signature, since all the eighth notes have an equal length. Okay, this is all that I will tell about the 12th eighth times signature because it's forever, it's very straightforward and very difficult. And the rest of this course, we will use to four quarter time signature. 87. Introduction - The C7, F7 and G7 chords: To know we have played the blues with dry. It's used C, G, et cetera, triads in a blues. And well, it's already sounds very bluesy and very nice. Butt. It could sound even more authentic bluesy with seventh chords. So what our seventh courts. Now that's what we're going to do in this lecture. So let me directly dive into it. When you look at a C major scale, which is, as you know, C, D, E, F, G, a, B, C, all the white keys. Then the major triad we formed with the first or root third fifth note of this major scale. Now, a seventh court, it's already a little bit into name, also uses this seventh. Now, what's the seventh? C major scale? Now, 1234567, that would be the B. So if he would make a seventh chord, you would expect it to be 1357. This court is called the C Major seventh chord. Now to be honest, major seventh chords are not very much used in blues. They're used a lot in jazz, not in blues. So an other way of making a seventh chord is not to take this note. I'm speaking of the scale of C, Yeah, but half to a lower. So to be flat in the scale of C. So then the first, third, fifth, and lowered seventh would be C, E, G, and B flat. This court, which is the C dominant seventh chord, is used a lot in blues. By the way, it's also used a lot in jazz, but also in rock and under popular music. By the way, this note in the key of C, always R is called the major seventh, and this note is called the minor seventh in the key of C. Now remember we also had a major third and a minor third. This is the major seventh and this is the minor seventh. Ok, so we will use in blues may lead seventh chords. So to C7 scores. Actually I should say C Dominant seventh, but very often we just say see sevenths. C7 chord is the root, the third, the fifth, and a minor seventh. And very often this minor seventh, I will simply called a seventh, but actually a suit. Of course it's a minor seventh. So I say 13577 is actually the minor seventh. Then notation of seat seventh chord is just, I will put it up. The virtual piano is just as C with a little seven. Sometimes this seven is placed just on the same height at the sea. Sometimes it's placed a little bit above. Okay, so this is the C7 sports. Now, what is, for example, the G7 scores? Well, let's have a look. The G major scale is, as we know, G, a, B, C, D, E, F sharp, and G, the root third fifth, or the G Major triad, as we know. Now, the seventh, the major seventh is of course the F sharp. So the minor seventh is the f. And this G, B, D, F is the G7 scored. Let's look at F7 scores because we will, in a while do a blues in the key of C. So we need to C7, that F seventh and the G7 scores. So the F major scale, as you know, F, G, a, B-Flat, C, D, E, F. So the first or root third, fifth, or FAC, as you know already. And the seventh, major seventh is the E. So they're minor sevenths is the E-flat. And the F seventh court consists of the, of the notes F, a, C, E. This is the F seventh chord. Okay? And I didn't mentioned the notation of the G seventh and the F seventh chord, but it's of course just a g with a seven, or an F with a center. Like this. The same notation as with this c, of course. Now, as with major triad, you can make inversions. It works in exactly the same way. So let me start with a C7 chord, C, G, B flat. When I take my lowest note, in this case the roots an octave up, I get my first inversion right away. This is of course, root position. Root position. First inversion. Take the e up. Second inversion. Now, once you well, we also have a third inversion. This was not the case with, with major triads, but with seventh chords. Look what happens if I take the G up. I'm not yet in root position. This is the third inversion. Now, when I take the b fled up on BEC in root position, but an octave higher. So. Going to read to the major triads, the seventh chords have three different inversions, plus the root position. Position, first inversion, second inversion, third inversion. Okay, you can do it at 40 F courts also the F seventh chord root position. Take the f up. First inversion. Take the a up. Second inversion, take the C up. Third inversion. Root position, first inversion, second inversion, third inversion. Let's do that with the G7 escort, root position, first inversion, second inversion, and a D, an octave up, third inversion. So again, the G seventh chords in the root position. First inversion, second inversion, third inversion. One more thing. The fact that I'm going back to the C In the key of C major. So, you know that's the seventh, actually the minor seventh, B flat. Now, this minor has nothing to do with that. We, we are in a major scale and we are still in C major, not in C minor. That because this is a major chord, we have the major third here. So it's the seed dominant seventh chord, or shortly to see seventh chord has a minor seventh even if it's a major court. Now what notes can be played on this C Dominant Seventh Chords? Well, you would expect a C major scale, but in the C major scale, we have to note B. B class clashes with the B-flat in C dominant scores. So you would rather take this scale. So it looks as a normal C major scale. Only the seventh is now a minor seventh. So in the key of C major, this is a B-flat. This scale, C, D, E, F, G, a, B flat, C is called the Mixolydian scale, but I will not use this term a lot in this course. Just remember that you just replace in the normal Major scale, the major satisfied by minor seventh. Of course, you can play the blues and third, you can play the blue fifth. But we will talk about this. The scale we will play will be this scale class or the Mixolydian scale, C Mixolydian. For G. This is simply all the white keys. This is, this is the minor seventh. And for f, what shock, we will first. Don't forget that it's a B flat and not a minor seventh. So for f, this Mixolydian scale, F Mixolydian is F, G, a, B-Flat, C, D, E flat, F. Okay? I know this is a lot of information, but let me take the important things together. So a seventh chord consists of root, third, fifth, and minor seventh. Then you can make inversions. That's just as we did in the normal way. Always, always the same. Take the lowest note and take it an octave up, root position, first, second, third inversion. And the third important thing that we said is actually when you would look at the scale. So to nose, you can play over as he sat with court. That would be C, D, E, F, G, a B-Flat C. And we call that the C Mixolydian scale. And of course you can also use the blue and the blue fifth. Okay? It's important to practice with all this, of course, as usual. And the best way to do that is again, in a blues. And since we have no to C7, the F7, hence G seventh courts, we can play a blues in C. By the way. In blues, it's very usual that you use the sevenths courts instead of just the normal traits. So our blues progression looks exactly the same as the blues progression with dries. Only that every court has now are little setup. It's all seventh chords. So you would play to one chord. You can play it in any inversion, of course, but if I would play the blues, I would pay for measures of C7 to measures of F7. Again, to measures of C7, one measure of G7, one measure of F7, and two measures of C7. Now, of course, in this way, we have to jump a lot from C to F, to G, back to C, et cetera. So you can take inversions in a smart way so that you don't have to move a lot. So you could do, for example, see in the first inversion, then F in third inversion, you see that's very little movement. And the g You could do what is its second inversion. But you can take other combinations. For example, these, Alright? So this is C seventh in second inversion, F seventh in root position, and G7 in third inversion. Now you can make all kinds of combinations, of course, to you to find the combination that fits too. But when you practice with the practice file, which I will show it awhile, try to use a lot of combinations. Of course, when it's difficult to directly have the right inversions, you could first practice only with the root positions. So let me show that first. And what I will do with the left hand is just C and G as though the root nodes. So when we play only root positions, that would be as follows. That's a new round. Let me stop it for now. So you can start with only root positions. Then you can make a mix of inversions. It's too. Before you start the play along file to determine a bit, a little bit what you will do, for example, C seventh in second inversion, seventh in first inversion, root position, for example. Let's try that. Okay, that was one round. Okay, so practice that. And next lesson, we will continue with seventh chords. See you in the next lecture. 88. Seventh blues - Left hand: So let's do a blues with the seventh courts. Actually we will not play courts, but we will use this seventh in this blues. So for, for C, It's the B flat tie for F is D, E-flat, and for G2 is the f. So we will use those notes. And well, we will do, I will call it the seventh blues. So let's have a look. And we start with the left hand. You see that the left hand, It's very simple because it's already on the beat, only quarter notes. And it starts with C and G together. Does c and a together? C and b flats together at c and a together. So it's actually very simple, and that's everything we do in, during the C CT. And a C chord is for the first four measures, so it's the whole time, the same thing. So that's already the whole first light. It's not very difficult, but of course, you should practice it so that you can almost automatically play this bass line. What sort of baseline? It's a base part. Fingering. I do it now with two, we could also just move your thumb. Leave your pinky on the C. You could also do finger to hear. Yeah, whatever you want, what fits best for you. So it gets already the first line, the second line, two times F7, the courts adds two times the C7, THE court Yeah, it's actually exactly the same thing. So it's now starting to see, but on the F, what we're doing is the whole time route to get it with the fifth. The fifth and the key of F, 1-2-3-4-5. First root fifth, root six. We call this node a sixth. And we call this interval from F to G six. And then with this seventh, minor seventh actually, but, okay, I will call it just seventh. So dense the interval from x to the seventh, seventh interval, a minor seventh the interval. And so you can call the interval of the surfaces, but you can also call this note in the key of F, The seventh, the minor seventh, okay? So root fifth, root six, root seventh. And then after two times back to c, also root fifth, root seven. So that's the second line. Third line. Exactly the same thing on G one measure root fifth, root six, root minor sevenths. Only once, then the same thing and f and twice in C. So that's actually all. So just practice that. Now when you practice this, be sure that you do it first with that turn OAM, later you can use the Play along file. It's very important that you played steadily. Knots debt you are playing. We're like that's not steady. Of course it should be together with them bachelor all very steady at all. So think of the transition start to F, for example, G, back to F vector c. So when it's difficult to make those jobs just lowered if NPO till you can master it at that tempo and then slightly increase the tempo till we can play that. Well. 80 beats per minute into play along file. You can play it at 80 beats per minute. Now. Yeah, you can use to play along frame file from the last lecture. But dare it's only an 80 beats per minutes, if you would like to play it on a 100 or 120 beats per minute. In the lessons about the blue fifth blues, you can find them all or you can use dose. But in those lectures I will limit myself to the 80-bit version, but I think this is a nice blues to Eve, eventually played a little bit quicker. So if you feel like you can play it quicker than yeah, do it. Okay, let me play it with the play alone file just to show you. So practice it well, be sure that you can play it in a steady way. And you can move to the next lecture where we will do the right-hand. 89. Seventh blues - Right hand: So let's do the right-hand of the seventh blues. Perhaps you ask yourself, why do I now first the left-hand and the right-hand? Because informer songs I did first, the right handed and left hand is just because the left-hand is very simple. So I thought, Well, let's start this time with the left hand, side to right hand. Well, you see there are some grace notes. It's not very difficult. It's other very difficult rhythm. So when I wouldn't play the grace notes, then you would have rest. And then adds very simple 123. And so with degrades notes. The first one is not this, but that will be rest. 23. This one also has a grace note. So rest, sorry, 1234, rest. And then you can directly actually due to the second measure because it's C. So very simple. So let me do the first two measures together. 1234. Let me count with it. 1234, rest to 234. Okay, so it's not very difficult. Let's move to the second, third and measure the I mean, the third and the fourth starts with an eighth note, arrest. So be aware we have to swing a test so you could count, for example, 123. And, but in the fourth beat, it's a triplet, so you would have to say 123 and triple. Let. So let me count with it. 1234123123. For you see that the last C from the triplet has to be hauled into the next measure. So one, band, 23. And if you wanted to say the whole time triplet, it's also possible. Drip, Oh, lead jet burn that 1234. And so let me do it once while counting 1234123. Let me do the whole first ln, 1234. Okay. Yeah. Briefs quickly. I should say something about the fingering. Yeah, you can do it in various ways. You could do with 24 and just slide with your finger to from the F sharp to G. And talking about the first measure and out. This is a possibility, or you can also take 35 and then you slate with your finger three, from the F sharp to G. 352423. That's a possibility. And you have here thump for DC and the second measure into third measure. Yeah, I think it's good to start our finger for 432111 or 131, whatever you want. Okay. Let's move to ln two. It starts also with a one beat, arrest the quarter rest. So it's a little bit same rhythm only that the first quarter notes doesn't have a grace note. So it's actually simpler as I did already. D, f into second measure and so rest 234. If you want to start without a grace note, you can also rest. Three. Ok. But with a grace note, 1234, rest to 341234. So try it out yourself. And then third measure. So it starts with arrest and it's exactly the same as the first measure of the bruise adds rest. 1234. You see this eighth note at the end of of measure four, which is on the end of four. So the first, the third measure starts at the same, in the same way as the first measure of the blues. Rest. Three to three. And then you have four. On the Florida was arrest and the and you play the G and you have to pay it with your thump because in the next measure you will. With your heads, with your right hand. Go to DF so you need your finger 35. And so with the one on the g at the end of measure four, right? So let me do a whole line to 12341. Ok. Yeah, about the fingering. I would do DFS seventh with 33, five to four, and then you can use to three. So we're finger to you slide. So 352431 on DEF. And again the C7. Yeah, you can do it with 35 or you can also do it with 24. And if I do it with 3-5, it's 353524231. So that's actually the same as what we did with the F. Perhaps that's the best fingering. And then with finger one on the G, As I said before. Okay, let's move to the third line. So we came from this last eighth note in the second line. And then we go directly on the first beat. Df. So the fifth and the seventh in the key of G. 12. If you want to do it first without a grace note, you can do well. And then adds degrades note 1234. And then at the end of four, you have the S. So what sorry, that's not a grace note. Three sorry, let me come well, 1234 and is already anticipates the F CT in the next measure. So 1234, and then the next measure, you have 1234. That's a bit the same pattern as into G CT. If you want to do it without a grace note first, then do a trade without the grace notes first than it's been for with the greys nodes. 14. Let me do the first two measures. One, yes. Four to four. And then the last two measures are exactly the same as the last two measures in the first line, 1231234, so that we know already. Let me play the whole third lying. Okay? Of course you do it slower and you can increase the template to 80 beats per minute. As always, you can, of course go Quaker, as I said before. Let me first played with that play along file for you at 80 beats per minute. This is another play along file. Notice time there is a base with it because you don't play the bass when you pay. Only knew right. Tens. Okay. Let's go do rounds. Okay. So practice that well. And I will put also that the a 100 beats per minute and 120 beats per minute version of this play low file. Well, 120 is 20 is quite Quaker. If you can play it at 80, it's enough. But in case you wants to go quicker, you can. Okay, in the next lesson, as usual, both hands together. 90. Seventh blues - Both hands together: Okay, are you ready to play both hands together? Let's go them. Okay, there we go. First measure. So remember, left-hand first measure, that first beat, it's humbly left-hand. First quarter, quarter note. And in the second quarter note, you act, you add directly your G and B flat bots with grace notes. Yeah, so and then three. Don't have a grace note, just G and B flat. Yeah, so if you want to do it's first without a grace note, very finite, so rest. Tried it several times, rests to three. And then you add just a grace note, rest. And then the fourth beat. Yeah, the left-hand does, as always, just does only a quarter note and you're right hands does that. So what do you play? Everything together? It's rest. And then we can directly go on into the second measure, 1234. That's easier, right? Had already one whole lot. Yeah, so let's try the, those two measures together. You can also try it slower. 1234. Let's move to measure three. You hit first on BY, as usual, your c, g, your root fifth. It's the one that you don't do anything because there is a rest in the, in the right hand, but on the end of one, you start. So it's and you have one to two, and you just go every time one node further to add three. And I tried it several times. And then you can take the fourth beat to add three at that end. And you just hold the C while you're left half is just playing the quarter notes. That one more time. This measure 3412341234. Let me do the first line. 12341. That let's move to line two. Don't forget that you have to make a little jump with your left hand. Okay, let's go first, measure three for Y, where I didn't paid one here, but It's a bit the same as the first measure of the blues in the first line only that's its first. Two nodes don't have a grace note. That's difficult to play grace note here because you would do this would be the one where you would want to slide to the C. So you kind of slide because it's not a black note, but you could do this. Ok, but it's no Britain, so we don't play a grace note. So 1234, and that's moved then to measure 34. At measure 34, measure three is the same as measure one in the first line. So again, don't forget to do that. You have to make the jump with your left hand. 1342234. And that's the only difference with measures 12 in the first line is that you have to play in this measure 34 in the second line, This G, at the end of four. So I've tried it several times, 1234 and let me pay play the whole second line. That's moved to the third line. And now you have to make the jump from the C to G with your left hand. So there we go. Yeah, we came from this G in the right hand, in the last eight note of the last measure, the second line. I'm sorry. That's good. When you, when you practice it's to take this last eighth note of the former measure also because belongs a little bit to this. And that. So practice at several times at the rhythm is not very difficult. 1234 eggs. And that together with the left heads. For add. Let me play it with the g. And then this is the same rhythm. Only that you're holds the f till the end of the measure. And yeah, and then we have already the last two measures, which are exactly the same as the last two measures in the first line. So, so let me play the last line, and I will play this less g from the second line also. So, and then you start a new line, etcetera. Okay, lets us try to play it with the payload file. I will put it on the beginning of the next round also. Ok. Practice it's practice it and practice it until you play it well. And you can eventually play also do a 100 beats per minutes, hundreds beats per minute version. And when you really want also to 120 beats per minute version. See you in the next lecture. 91. The D7, A7, Bb7 and Eb7 chords: Okay, so you see in the diagram here above the virtual piano that we have done seven major scales. And of those seven major scales with also seen seven time the major chords, I mean to major triads with the, with the inversions. But we've only seen 3 seventh courts with inversions. And that's the f, the C and the G, which are in the middle there. No. The D and the a on the right side, and the E flat and a B flat, we haven't seen to seventh chord yet. So that's what we're going to do in this lecture. And it's actually quite simple. So let's start with D. We know already the major triad, D, F sharp, a, so we have to add to the seventh. Now, what was the seventh 0? Again, it was a minor seventh. Now to minor seventh. If you have the seventh note in the scale, 1234567, then you had to lower it by a half tone to get the minor seventh. So that's the C, D, F sharp. A, C is then the d seventh chord. Now, it's easy to see which note is a D minor sevenths without having to go what? To count until seven and lower half, half tone. You can just see when you take the root and the root an octave higher than, just go a whole tone down, that's easier. You can also take this d, go a whole tone down, of course. But okay, so D, F sharp, a, and C, That's the D seventh chords. And of course, you can make inversions. This is root position. Take the D an octave up, first inversion, F sharp, an octave up. Second inversion, a, an octave up. And you have a third inversion. So again, root position, first inversion, second inversion, third inversion. Okay, let's do it for a. So we've learned that the a major triad is a C sharp and E. So let me take the a, an octave up and go a whole tone down. Let's g. So g is the minor seventh in the key of a. So C-sharp, E and G is the A7 scored. That's the root position. A, an octave higher, first inversion, C-sharp, and octave higher. Secondary version, B, an octave higher. Third inversion. A7, root position, first inversion, second inversion, third inversion. Let's go to the flats. So first B-flat saw the B flat major triad was B flat, D, F. So, yeah, let's see, what's D? Minor seventh? Well, when this is the root, go a whole tone down and you're on a flat. So this B flat, D, F, a flat is the B flat seventh chord. Let's sort is this position. Let's look at the other inversions. I take B flats, an octave up. This is my first inversion, D an octave up, a second inversion, F an octave up, and business my third inversion. So B flat, root position, first inversion, second inversion, third inversion. Then we have only E-flat left. So this was the major triads, E flat, G, B flat, an octave up the E-flat, and a whole tone down is different. So E flat, G, B flat, D flat, E flat, seventh chord. Root position, first inversion, second inversion, third inversion. Okay, so again, E-flat seventh, root position, first inversion, second inversion, third inversion. So those were the four missing seventh courts we've done now was 7 seventh. I mean, yes, 77 scores. Exactly. So there are still five left. Now, you're first going to practice in the next two lectures with those seventh the courts. So see you in the next lectures. 92. Exercise: Seventh chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 92. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 93. Practice the seventh chords with a blues in D and Bb: So when you did well, the former exercises do the interactive exercises, then you should be prepared to, to practice on the piano with the blues, with the courts, I mean, in a blues. So we will start with a blues in d. As you know, a blues indeed has as one quart, of course, the d, Well, I show to show it in a seventh chord, of course, the forecourt to g And to five courts, the a. So we practice here D seventh, seventh chords and G7, which we already practiced before. After the blues in D, we will do a blues in B flats, Y B flats because B flat seven. The four CT is E-flat seventh and the five chord is F seventh. Let me take a root position. So we practice there. The E-flat seven tend to be floods. Seventh chords as new courts. So let's get started. So I will start with the blues and D. That's easier than the blues in B flat. B flat, we have got quite a lot of black keys. So I will put on the display low file. What I will do, I will let it go for the three rounds, and I will do in the first round only root positions. And in the second and the third ground, I will take other inversions. So try the same thing of course. And I will do it now with my right hand and left hand. I will just take the bass notes. You can do the same thing of course to start with, but later, but he's also the left-hand turn to courts. So let's start. Okay, let's do the blues in B flats. Bye. Okay? So try, you, try to do the same thing. Right hand, left hand. And see you in the next lecture. 94. Changing slightly the Blues Progression: So till now we have seen two different blues progressions. We stirred it with the very basic blues progression, which I will show here. So for measures of one court, tool, for courts to measure one court, then to measure the five court at two times the one chord. Then a little bit later, we changed one little thing. We're changing the third line, D5 court tool for CT. And we've used that seconds blues progression a lot. Now, those are very basic blues progressions. Blues progressions can have many more other courts, to be honest. So we're slightly building up to some other blues progressions. And we're going to make a slight change. Actually two little changes were changing. Two measures. The second measure of the blues. So in the first line, instead of the one Court will make a forecourt. And that in the last line, the very last bar, we make a D5 CT. So we have 1411 on the first line, 4411 on the second line, and in the third line, 5415. So this will become our new blues progression and the, the next lecture we will also do a blues with this progression. It will be a blues in d. So remember to one chord is the d before court, the G and the five chord, the E. Now, so I will fill in dose courts has, so I will, for, for our new Blues provision, filling those d, g and a chords with sevenths, of course. And what we're going to do is that we're going to practice still a little bit with this to get used to this blues progression. So what I will do is I will in awhile Pudong, The Practice file. So let me bring up the piano. Here it is. And we'll play this new blues progression in the key of D. So do the same thing, practice with it. So we'll make, I will make different inversions so it doesn't matter which one. Just for the purpose of showing you all of it, will just do one sort of inversion. You can do many more inversions if you'd like, and with the left. And I will just do base knows. So and so let's go. I will put it on and the new rights, et cetera. And then let me put it off. So you practice the same thing. You can, of course also do your left-hand. But for now, most important is that you get used to this blues progression. You can, of course, try several combinations of inversions. So to get a soda again, again, you'd get used to it. But the most important is that you listened well also to what you do and that you get used in your, in this new blues progression advocacy. That you can absorb it in your system so that you really feel when the courts changes are coming. Okay, breakfast it well, and we will use this in the next lecture. 95. Boogie in D - Left hand: So we're going to use to new blues progression for our boogie in D. Now in a former lecture, you already learned what the courts are in U, blues progression. I will show them also above the about the staff, as you can see now, above the virtual piano where we see the first line. Note that we have now two bars per line, so we will have six lines here. Six times two is 1212 bars for our blues. So let's start with the left hand. And it's, It's a left-hand boogie rhythm that it's very simple actually, it said the whole time. So it's a swing rhythm of course, at one end to end her trip ball, let's drip bullet. So next-gen, next-gen read or 12234, etc. Up. So that's the D part already. So d at a twice, at D and B twice 1234. And that's already the first measure. And so for the fingers you could do Pinky and index finger on the D and the a, pinky thumb of the d, b. You can also do this where you use your thumb on both the a to D, But I think this is better. Okay, so the first measure is thus, just watch out. We don't stay on the G and the D. We go to G. It is second measure. We do exactly the same thing. And same rhythm. Also root and fifth. Root. Six into deed was also root, face. In G also. Same fingering, same rhythm. So let's go to the second line. Would go back to D, two measures. So just run at 4234. So exactly the same thing. Next line, again to measures of G, exactly the same thing, 2341234, and that's it. The next line to measures of D, exactly the same thing, 12341234. And let's get to measure line, which is like five. Same thing in a watch out. There's an F sharp Now. This is root fifth and this is root six. So you can use the same fingering. L1, L2. And for only one measure, one measure of g, which we know already, 1234. And I will do one time again the whole line. And then we have the last line with measures 1112, where we have one measure of d and what measure of a. So yeah, the D measure we know with already and that's one. For now, the only measured at it's a little bit different than all the other measures. For the left hand is the last measure where you have the a seventh chord. You have onetime. Actually, this is still the D chord headed at the first one of the measure, but okay, the rest of the measure is the a Courts and the rest is. So 34. And just the octave low may hide a width, the m sub l. You have to make a little job. You can eventually do with a already with your thump. But if you are coming from the D badger, You could do this one with your thought and then the octave, but you might forget, it's well at 234 add. So whether you take your index finger and your thumb on the one of the last measure doesn't matter at all, is okay. So, yeah, Well, that's actually it. One more thing you could eventually use your petals that your sustain pedal on the to give it some more extra force in his last measure, so that you have the last two measures. You hear it when I press the pedal that it sustains. Okay, yeah, let's actually all so let's try to play it with the play long file. It's at 80 beats per minute. Let me put it on, et cetera. Again, I do only one route. You can do three if you want. Okay, yeah, so that's it. Predict is that in the next lecture, we do the right-hand. See you in the next lecture. 96. Boogie in D - Right hand: Let's do the right-hand of the booby and d. So let me bring up that staff and let me first play without the grace notes. So what did we see? We see a, C, That's the fifth and the seventh, minor seventh in the key of D, G, B. And watch it F sharp, a sharp because of the times the key signature. So what is the rhythm? 1234. And I did this fingering now, 352423, BAD. Perhaps you prefer 352413. Watch out a little bit that when you do run three because you have your thumb a little bit higher up, your middle finger in between those two black nodes that you don't hit them in the same time. So 1234. And with the great grace note, 1234, or with the other fingering, 123 for. The next measure is actually the same rhythm. And it's the same thing, but in the key of G. Because you have fifth, seventh, minor seventh. Same rhythm, 1234, and same fingering for B52, 413. Here it's really better to do 13 here. You'll have no problem with the black nodes 1234. And so the first two measures are 12341234. And I see now that I forgot to do it. A grace notes that should be so let me play it over 12341234123. Okay, let's move to the next line. Now. You see we have now two measures per line there. So we will have six lines. Six times two is 12 measures, okay? Now the first three beats are very simple because they're on the beat 123. And then you have four out. So when I do the whole measure and let me do directly seconds measure of this line also, 12341234 heads. The last eighth note is held into the next measure. 12341234. So h should also very simple. So let's move to the third line, measures 56. Well, the first measure is of course, very simple, basic because it's all on the beat. 1234. That's all. And the next measure, yeah, well, that's what we actually already saw. Into second measure of the first line. It's exactly the same. 123 for Soda Hall line is 12341234. Simple. So let's move to the fourth lined measure, measures 78. And also this is not very difficult that most, the first three are on the beat. Well, actually, I see now it's exactly the same as line to measure 34. So we have seen this already. 12341234, exactly the same as line two. So let's move to line five. So, yeah, again, the same rhythm as we have seen in measures 12 of this blues. 1234. That's the first measure. So this is, again, when I would play it without degrades note it would be. So that's the fifth and the seventh, minor seventh. And she'd go down. So simply 1234. And with the great grace note, 1234. And again, you can use the same fingering, 35 to fear 413. And you slight with your middle finger. Of course, in the first beat. And the next measure, Yeah, we've seen it already in the second measure with these blues 123 for ads, exactly the same pattern as we've seen in d, as we've just done in a. So let me do the whole line. 123412341234. Move to the last line. Measures 1112. Yeah, we've seen this line already. It's the third time that we see this line, line to line four. And line six is exactly the same, 12341234. And that's all. So debts. The whole buoy in D. Nothing difficult. So let me play it with a play along file 80 beats per minutes. There we go. And the xerox to sit around the room. So practice that. And down in the next lecture we'll go to play this both heads together. 97. Boogie in D - Both hands together: Okay, let's do the Boolean D, both hands together. There we, oh, so, yeah, let's first do the first line, of course. And let's do it first to try it, try it out without the, without the grace note. So the first note, the first two notes, I should say, are a quarter notes owner to get together with it. And then the next two nodes where you do with a left hand to D and to be exactly on the same moments as she touched with the left hand, your, uh, your court you do too. Times two notes with the right-hand. That's how it's tried it several times. And then you can go along with your left hand while you leave the right-hand on those two notes till the end of the measure? I tried it out several times. Sorry. Dan. If you can play that, add the grace note. And as always, if it's too difficult to Dan law, we're down 1234 or even slower, starting with the grace note. And then slightly speedup. And second measure is exactly the same thing, but in G. So you have to make the jump. And then write your right-hand also makes a little jump at exactly the same rhythm. First without grace note, perhaps, perhaps. And then with the grace note. Then play both measures together and speed up the tempo. Now to be honest, I don't have to go that way. The, the 80 beats per minutes version is slower than that. By the way, I will also put a 100 beats per minute version because it's nice to play this a little bit quicker if you can, if you want. Let's move to the second line. And it's quite simple because the first three beats, or just on the beat, those are the 3 first beats. Oh, I place this but I should have. Let me do it over 1234. And then you just hold de, de, de, de F-sharp at the a while in the left hand. You go on with this. I'll try that several times. You could slow we're dog of course. And then speed it up. Again. This was quicker than 80 beats per minute. Let's move to the third lighting. And they're regarding you have to make it it'll jump with your left hand. Very simple. The first measure I, because riots had, is only on the beat. S0 to fears measure is nothing difficult. And then we have the same. The second measure is the same as the second measure or the first line. So you can play it in the first line. You can also play it in the third light. So both measures together to whole line, sorry here. Then force lying. Again, not very difficult because it's exactly the same as the second line. So where you can play the second line, you can play the fourth line. Four. Okay, fifth line measures 910, and again, it's the same rhythm as in the first line. Only dissipating eight and in G. So you could first do it without a grace note, of course, 134, and then add to degrades note. The second measure is exactly the same rhythm. Sorry. That's are the two measures together. Of course, you start slower at sorry, let me do it well. And then you slightly speeded up. So we're on the last two lines. I guess. The last light, I mean the last two measures. This last life is exactly the same as the second end it fourth lines. So nothing new here. Well, it's not exactly the same because you have this left-hand, which is a little bit difference, but the beginning is exactly the same. It 12341234 at, and of course I should just hold days, but the only difficulty is that the left-hand changes a little bit. But if you breakfast while the left hands dance, it's not difficult at all. And so and that's the whole lose the whole booby and d. So let me play it with the play long file, et cetera. Okay. So practice as well. And yeah, of course, if you make little mistakes, doesn't matter. Of course. Try to make them of course. But if you complete well, why? And let's play it at a 100 beats per minute. Let me show you. I'll just play it with the play along file with a 100 beats per minute. Of course, if 80 beats is 80 beats per minute is enough for you, just stop and go on with the course. But let me show you a 100 beats per minute, et cetera. Okay? And as always, I played one round, but you can play three rounds. So that seats for the Boolean D. See you in the next lecture. 98. The E major scale: In this lesson, we look at the E major scale. Now. Why are we doing now V, E major skill? To answer that, let me bring up this diagram that we used before, where Cs in the middle and on the left side we have the scales with flats, and on the right side is scales with sharps. Now, the last scale we did with sharps was a. Now, the E is the fifth in the scale of a. How can you know that? Well, let's look at the a major scale. That was this one. C sharp, D, E, F sharp, G sharp, a. So the first five notes, 12345 is the note E. So, and you know that every time on the right side of the C, When we go a step to the right, or in other words, when we go up a fifth, we get an extra sharp in the scale, right? So on the right side of the a, we have E. Now as a has three sharps, 33 sharps, then E has four sharps. What we're going to do soon is playing a blues in the key of E. And well, the key of E is not the key where as a piano player, it's not your preferred key to play a blues in y naught, well, because there are so many sharps. But if you're going to play with other musicians, especially when you're going to play in a band. Guitar players, their preferred key to play, play a blues in is actually the key of E. So when you play with other musicians, and especially in a band, you will be asked for sure to play a blues in E, So it's necessary to know how it works. So let's have a look at the E major scope for debt. I will bring up that major scale formula. So let start, we start on E. Go up one whole tone to F-sharp, and other whole tone to G-sharp. Now we go up a half tone to a. Again, a whole tone, to be a whole tone to C-sharp, a whole tone to D-sharp, and finally a half-way vector to root e. Okay, let me play it again. E major to E Major scale consists of the notes E, F sharp, G sharp, a, B, C sharp, D sharp, and E. And again, this is F sharp to G flat. G sharp, or a flat. C-sharp and not D flat, and this is D sharp and not E-flat. And you should by now know why those are sharp notes at no flits notes. Again, he was one of the two rules. You should know them by now. Now before looking at the finger positions, I'd like to say this, you know, we will do a blues in IE. So let's quickly have a look at what the 145 courts are indicative of IIT now that we know the E major scale, so the one of course is E, That's all for this. Then we go up the major scale, 1234. So a will be our forecourt. We know a already. So we don't have to look at the a major scale and not add to the a CT. But the five court 12345 is B. So the major scale, we haven't seen that yet. And w0, major triads and seventh chords, we haven't seen them either. So after the E major scale, I will do to B major scale, but it will be in a few lessons further. First, we will do the courts. Okay, so let's start by looking at how to use the finger positions. Now, they're not very difficult. And as always, you can look them up into resources. So I will do them quickly. And if you want to see it at your east and just go to the files in the resources. So there we go. So that's one octave and you see it's exactly the same as with C major, G major, et cetera, just 12312. So BEC is exactly the same in reverse order. Let me do two octaves. And also, it's very simple because it's the same as all the other scales as almost all the other skits. And let me go back to octaves. So that's the right-hand. Let me do the left-hand. I will start on this E here. What did we see also, left hand is exactly the same as for the C Major Scale, G major scope, and many other major skills. Let me go back. One octave. Okay, two octaves. And BEC. Okay? As always, you can practice with the practice files into resources. I don't have to show you how to do it because it's the whole time to same. So practice them well. And in the next lecture, I will show you how you can make the E major triad with a major seventh chord. 99. The E major triad and seventh chords: So let's have a look at the courts that we can make in the key of E. So first of all, you know that we need to first, third, and the fifth for a major triad. So let's start with the major, dry it. The first five note. Let me play first the whole E major scale again. As so the first five notes, or dose, E, F sharp, G, a, and b. So the first, third, fifth note are be G-sharp and b. So this is the E major. Try it. Now, this is of course, root position. So let's go to first inversion. We take E and develop. This is the first inversion, G-sharp, B, E. Let's take now the G-sharp up to get the second inversion, B, E, and G sharp. So E major triad in root position. First inversion, second inversion. Let's look at the seventh court now, the dominant seventh chord, E dominant seventh. So we have, of course here, now the, try it. The major triads. Minor seventh. And as you know, when you go to the root, you only have to go a whole tone down to half. The minor seventh, which is the D. So this G-sharp B and D is V, E seventh chord, the dominant seventh chord in root position. So let's go to the first inversion and we take the IAP. This is our first inversion, G-sharp, B, D, and E. Let's take debt G-sharp and octave up. And we get the second inversion, B, D, E, G-sharp. And to make the third inversion, we take up an octave higher. And this is the third inversion. D, E, G-sharp, and be. Okay, of course you find this also into resources so you can look it up at your ease. 100. The B major scale: As I already told you in the lesson about D or E major scale, we also need that beat major scale into B courts to be able to play blues in E. So that's what we're doing in this lesson. We're going to do the B major scale. So I will first bring up the major scale formula. So we start on B, going up one whole tone to C-sharp, one other whole tone to D-sharp, now half-term. So that's e. Again, a whole tone, F-sharp, a whole tone, G-sharp, another whole tone, a sharp, and finally, a halfway back to the root v. So let me repeat. The B major scale is B, C sharp, D sharp, E, F-sharp, G-sharp, A-sharp, B. And as you see, it has five sharps, C sharp, D sharp, F sharp, G sharp, and a sharps. And of course there are sharp notes, not flip notes. You now know why. Let me place it in the diagram that we had seen that B has five sharps, so it has to be placed on the right side of the E. And you know that B is also the fifth in the key of E. I've shown you that already in the E major scale. If you don't remember, the major scale, the first five notes were 12345. B is the fifth in the key of E. So, and it has also five sharps. So you see that it's there in the diagram. Okay, yeah, the finger positions, again, even if the scale looks quite complicated with five sharps, the finger positions are not complicated. They're the same as we are used to. So I do it quite quickly. Have a look, and as always, you can look them up in the resources. There we go. Back. Let me do two octaves and two octaves down. That was the right-hand. Let's do the left hand and that's a little bit more special. So let's have a look. I will do it a little bit more in detail because it's a special one. I will first show it and explain it in detail. You see that we start with our thumb with finger one. Doesn't go with finger three on the C sharp to D sharp. Why don't the, Don we take our finger four on the F sharp, three on G sharp, a sharp as one on b. And of course, when regarding back, it's the same thing but in reverse order, 12341231. Now, you could eventually also land with four.edu could actually also start with 443214321. So that's up to you. Which one you want to use. So let me do two walk. There's no one or four, and I will start with one now, 13214321. So till now it's still exactly the same as one octave. And you actually go on in the same way, 3214321. So actually two octaves is the same as, as one octave, how you'd just go one into weight, you weren't used to. And BEC is the same thing but in reverse or order as always, one too, 341231234123. And then you can let either finger for or with finger what? Now? Why should you start with finger one along with three or four? Well, as I said, you can start with finger for but why do I prefer finger one? That's actually because when you're going up, you also lend here with finger while if you go on with two octaves, or if you're just ending the B. So that's why I started with the one. The B. Okay, that's it. That's the B major scale. And again, I can't say it enough. You can look it up into resources. Also in the resources as usual, to play a lot of files and you know how to play with them. So I don't have to explain that. So pre-requisite. Well, and I see you in the next lecture where we're going to do that be Courts, the B major courts. 101. Exercise: 9 major scales: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 101. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 102. The B major triad and seventh chord: Ok, so after the B major scale come, Db Major courts, first try it, the major triad. So again as the major scale. So that first third fifth notes are B, D, and F sharp. So this is w0 major triad in root position. Of course, when we take the b, it routes up an octave. We gets to be major triad in first inversion, D sharp, F sharp. And when we take the D-Sharp op and octave, we gets to be major triad in second inversion. So F Sharp, B, and D sharp. So that's B major. Dry it. So let's look at the dominant seventh chord, or just to be seventh chord. So yeah, this was a dry it when we go up an octave. So take the root and go down a whole. So we arrive at the a and d. A is the minor seventh in the key of B. So this is the B seventh court. B, D sharp, F sharp, a. This is the root position, of course. So let's look at the d.school inversions. So to first inversion, as always, we get by taking the b operator route up an octave. So this is the first inversion, D sharp, F sharp, a, and B. Taking the D-Sharp up an octave, gets us to a second inversion, F sharp, a, B, D sharp. And finally, taking the F sharp up an octave, takes us to the third inversion, a, B, D sharp, F sharp. And that's so again, that be seventh chord, root position, first inversion, second inversion, third inversion. Okay, try to break this a little bit with that. We were going to practice with that of course also a when we're doing a blues in E. See you in the next lecture. 103. Exercise: 9 seventh chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 103. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 104. Practice the chords with a blues in E major: So you learn now two scales and of course the corresponding courts. That's quite a lot. So, yeah, you have to practice with that. In this lesson, we'll practice with the courts and especially the seventh chords. And we do that with a blues in IE. I said already, we will do a blues in E. In the next lesson, we will do that a famous song, Sweet Home Chicago, which is a Blues in IE. And in this lesson we will just practice with the courts. So, yeah, I did one court into Blues and e is of course the d. If you take this seventh chords in root position, that would be this one. The four CT 1234 is the a, and I said it already before. So a in root position. The seventh CT. And of course defies quartz is the B, the B CT. So to be seventh chords are in root position. That's quite hey, take it here. And so we're going to practice with that, with that practice file, which is in a resources as usual. And we will take the blues progression as we did the last time. So watch out. You start with the ii chord, of course, only one measure, and then you go directly to the four chord. So 2D, a seventh chord. If you don't remember. I will, of course, put it up virtual piano as you can see. So you can follow along the blues progression as you'll see there. So let's start to, I will put the play along file on. Now, I will first do first round, do always the root position and this one. And then I will make some combinations in the next rounds of seventh chords. So let's go. Okay, so that's it. And you're going to practice your invent your own inversions. Of course. You saw that I took the bass notes with my, with my left hand, so you can do that also. And there's always practice it also with your left hand turn. All the, all the course. Several versions. This is a bit low, I should take it a little bit higher up. Okay, but it depends on your sounds. Perhaps for you it sounds well. So practice, practice, practice. And in the next lecture, we're going to do Sweet Home Chicago. See you in the next lecture. 105. Sweet Home Chicago - Left Hand: Okay, so in the next three lessons we will do Sweet Home Chicago from the, from the Blues Brothers. If you don't know what you look it up on YouTube. Okay, so it is a Blues in E. And let me show it, let me show the whole sheet music to you because there are some things that I want to tell you. First of all, it's a normal 12th measure blues. So it's looks exactly the same, actually, almost exactly the same as the last 12-bar blues in E that we showed in the last lectures. There's only one little difference, right? You remember that in the last lecture, we had e a e two times a, two times E, then B a E. And the last Bart was a b. Okay. Sevenths, but I don't say to seven. But you understand that? Now the only difference is that the last part in this blues is not the whole bar B7, but only the last two beats or be seventh. The first two beats are E seventh. So instead of the whole measured, a whole 12th measure to be seventh. The last measure is the first two beats, E seventh and the last two beats, B SEMS. Okay, that's one. The other thing I'd like to say is that it starts with an intro to measures, as you can see. So the actual blues progression. So did a 12-bar blues progression starts into third measure with the East sevenths that you see there on the first line. And the first two measures are an intro that you only play the first time when you start your first round. One other thing that I'd like to say is, you see that I don't use swung eighth notes, but I write them as triplets. Look at the left-hand part, for example. It's actually exactly the same left-hand part as we did into bete de blues. But now when E, it's always fifth, or sorry, region fifth, sixth, sorry, it's exactly the same as that we did in the blues in D. But I don't notate it now in swung eighth notes, but as triplets, why do I do that? Well, you can see that a little bit further on here. I played triplets in the right-hand and perhaps you remember that I said one time when you play triplets in one of the stapes and in the other, you play swung eighths notes. You cannot write hints as to swing eighth notes. Otherwise they're not lined up vertically. So that's why I notate it now, with triplets. Is there more to say? Yes, one little thing in the last measure of the intro. So to the second measure of the first line. You see actually the, the last triplet here, X as a sort of a pickup measure. Now, it's not a pickup measure because this second measure of the intro is a whole measure with four beats. But if I would play this intro and I would just starts to play the 12 bars of the blues. They would still play those notes. They belong to those 12 measures. So If I wouldn't play the intro of two bars, then this would be a pick-up measure. And actually you see them also in the 12th measure. You'll see them come back. Here. They're actually anticipate already the first measure of the Blues. Okay, that's being said. Let's start with the left hand. So, well, the first measure is very simple. It's just D, C sharp. And they're just all on the beat because they're quarter notes. So don't, don't make the mistake that this third note that you played as a C, It's a C-sharp, that key signature. So C-sharp at we just count 1234. So nothing difficult. You can do several fingerings. You can do Bing Qie thumb, index found. Or eventually you could also do a pinky index, index that normally you shouldn't, you shouldn't do it like this, but OK, if it's easier for you, you can do it. Then the second measure, sort of still the intro is, denotes a sharp. And well, you should count it as 123. Rest. Count four is at rest. One, at two, at three, the rest, three, you hold it from the, from the end of 2123. Rest. The whole intro is 1234. At rest. Let me move to the first measure of the 12-bar blues to E7. So did the third measure. And as I said before, it's exactly the same as that we did into Blues. Indeed. Our last blues, root, fifth, root, six of them, 1234 at right. So when I would play the whole first line, so the intro and the first measure of the blues, it would be 123412344. Okay, let's move to line two. So you come from this E that you have to make a little jump. Two roots at faced in key of a. So a at e. Exactly the same rhythm. Run 234, and then you move back to E. So this whole line would be, it would be good to practice going from measure one to two and from two to three. And what I mean here by 123 are the first three measures of the 12-bar blues. As so where you start with this, just to make this jump start, you go from E to a to E. Tried it several times so that you can make the jump. And of course, you would slot where a and you can go even slower than that. Okay, the next light is still e. And then two times, a second time. So yeah, that's the third line. Next line, fourth line. Beck from a to E. Two tides. Is this the second time? And now you make jumped to be to B7. That's roots at face B, F sharp. You do. So between the F sharp and the G sharp. So 1234, and as a practice is also several times the whole line. So from e. One more time to, to be then to do the next line is the a CT. So you come from the B to a. Watch out because now it's a little bit different. You get, sorry, let me do the whole first measure of this fifth line. You end as if you go on with this rhythm in IE, only you do only one side. Bead, one. Practice that several times from the a one as the first beat of the measure. And then the rest of the measure is simple because it's just 2341234. So practice that several times from the first to the second measure of this line. Or when I count with it by 234 at 1234. Yeah, and then the last measure is again, the same as that we did in the intro. The second measure of the intro, 1234, only. You have no, no pause, no rests in the fourth beat of this measure, you just hold is B. So check. Practice this several times. The whole light. And that's all. So what I will do is I will put on the practice file as usual. Now this is a little bit special because we now have those two measures of intro. What the practice file does is debt before it starts to blue. So before it starts, this third measure on the first line, which is the first measure of the blues. It only cliques. So what it does is it clicks for time just to get you started. So 1234. And then it does two times more for clicks, which are those two measures, but it doesn't play anything. So what you do is 1234 and then 123412, 34, and then you start. So watch out that after forklifts you just start even if the dad doesn't play, it's already the Metrocable place. So let me show you. Watch well, try then to do it yourself. 234 and then here, etcetera. Ok, so I would try it out yourself. Now in the resource as you will as usual, find everything. So did PDF and all the play along files. And I say files in plural because there are three play alone files. One at 80 beats per minutes. That was the one that we just listened to. 100 beats per minutes at 120 beats per minute. Now, do you have to do with the 102120 version? No, you don't have to. But as Sweet Home Chicago in the original version is played at around 120 beats per minute. For DOS who want and for DOS who actually are able to play it. And I don't think that everyone will be able to play it already at that speed. But those who want they can. So of course you start with the 80 beats per minute version. Or actually, you can even start slower by using your metronome, of course, than the 80 beats per minute version, then you can slowly speeded up with your metronome t2 even more than a 100 beats per minute version, etcetera, till you come at 120 beats per minute. And but as I said, only if you want, you don't have to because it's it's quite a challenge to play it at. That's tempeh. So practice well, and I see you in the next lecture where we will do the right-hand. 106. Sweet Home Chicago - Right Hand: The right times of Sweet Home Chicago. Ok. Well, let's start the first measure of the intro. So yeah, it's a little bit difficult in the beginning, all those ledger lines, but this first note, you can check it out yourself. Isn't done. We have b with e, again, D, B flat with a, again the e, a with E, and again the E. And then in the second measure, watch out, it's a G, but it looks as a g, But it's a G sharp because of the key signature. So you actually do this. So you see that the thump, pinky always are on the low and high E. But Dad, the the index finger does B, B flat, a, G sharp. Okay, so let's see how the timing is. So actually the, the first triplet is so you can, so you count 1234 and an older one, there's a rest. So it was 12, sorry, 1234. And so again, 1234. And, and it's perhaps easier to also play already this first beat of the next measure. So Don you have, then you have 1234 and yeah, alright, so 134. Do three. And I'm gonna fourth note. But let's talk about that later. If you find it easier on the one you can just even if you're, if we're practicing to right hands, but you could just under one e with the left-hand. Suddenly you have 12341. So try that several times. 123423, and then count for its again for end or JPL lead if you want that or poor ends. So you have, you had Count one, you had, had this 1234 ends. Okay? And actually when you have done this for, and that is easy because you hold this during the first three counts of the next measure. So let me do the whole line. 1234123, rest. Okay. Then we can move to the next line. So one measure of A7, one measure of E7. Again, it's the whole time 123, but you don't play on the end. And E14. And so the notes are E G two times one. And then the next one is a F sharp. D has a natural sign, so it's not a D-Sharp but just a D. So it's one. And then on count three, you have a C-sharp. E. What shout is, is it's a C sharp, the key signature. So you have 12 and all counts for, which is actually for and you have is this slight with your finger on the same moments that you have your pinky on the E. Four. And so the whole measure, 1234. And you hold it into the next measure where you hold it, the whole measure. So can do the whole two measures. The whole line, 12341234. Let's move to the next line, the third line. And there we have some triplets in the right-hand. Now let's look at the notes. So it starts with a, B flat to B with a natural sign, d with a natural sign than B flat, a, G moving with a natural sign. Otherwise it would be a sharp. So and that you have again And I would we're used to the whole time. So yeah, watch outskirts also natural sign into B because we had it flattens before it into measure. So for fingering, I would say 235 and then 4321. Yeah, you can do it three 3-4-5 Law. No, I think it's easier to 35 and then 4321. So that's that's chip for the get that dot, dot, dot, dot. Sorry. One more time. Yeah. And this one, you hold it into the next measure for three counts into forced Congress just erased. Let me play the whole 2 first measures of this line. 234123, rest. And the third measure, we have seen this before him. Exactly the same as the first measure in the second line. Okay, let me carbonate again 1234 and I forgot that grace note. Let me do it again. 123 or 1234. Yeah. I went already to the next line because there we have to hold DE. Now let me play the whole line. And I will directly continue with the first measure of the next line, since it's just the E that we have to look to hold. Okay, there we go. 234123, rest for 1234. So we're we arrived the next line. And yeah, we have a similar pattern as we did in the first measure of the last line. Again. Only that, the last 44th beat is four. Sorry, without grace note. And you hold it into the next measure. So you have 2341234. And so if you come from this e in the first measure, 12342341234. Let's move to the last line. Starts with it rest. And that we have this is this is quite simple here because you have, yeah, okay, you have grace notes, but it's just on beat two. And you have 44. So 1234. And you hold it one count into the next measure. As we have rest. Rest. One. Then in measure two, the second beat, same thing as second beat and the first measure. So this is B2, B3, and B4. So it looks a bit like the last measure, only that, this time everything is on the beat. And in the last measure, but you didn't splay this B flat and you did the first measure it. And now you do. So watch out for the first time with your with your index finger. Finger you play B. A, G. At now in the second measure, you play B, B flat a. That's a, that's a difference. That's so let me play the first two measures. So that's rests Two, 341234. And on the one of the third measure, you play this out. It's a G sharp. Think of the key signature. Let, let me pay till here. So from the beginning of the line, so that's rests, 23131. Done. On beat two, we see a triplet where the first note, note about the first of the triplet is at rest. That is, so if you count too, and that it is two, c denotes a D-Sharp, which counts as a sharp, a and B. See that I actually outlined B7 scores. This is the seventh. This was the root. So this is the seventh. This is the major third. Every member that's w0 courts. This is the major third. So we have this seventh, minor seventh, major third, and just the root. So what I'm playing is actually just the B7 scores. Okay, I don't have the fifth, but okay. So when I would count up till here, I would have, so in the first beat I have this. So one rest. So let me count in this way. 12323, you played on the end and you hold it in two to three. And then you only have these what we call it before. Pig up. It's not a pickup spots, okay? And this is for n. That's sort of a whole measure is 1234, right? One more time. 1234. And then of course, you're ready for the next round where you holds DE during the first three counts. Let me do this whole last line. So starting on the ASF 1213434 and so yeah, you Rick does it with your metronome first very slowly. Count well, especially this last measure, not so easy, yeah, 123. And otherwise you do it several times so that your use Twitter. Okay, let me play it with that play along file again. Don't forget the intro. It gives 12 clicks. So for to get you started. And then two times four for the first two measures. And you can pay this first with your left hand if you want. So okay. Let me just put it up. Okay, that's an extra will stop it for now. So you can practice this also. And yeah. I agreed at without left-hand, his intros a bit confusing, but okay. If it doesn't go than just skip the intos related count, 12 counts, then start normally with the blues. I did a next lecture. We will do both hands together. And it's perhaps let it less confusing. Again, you can do 80 beats per minute, a 100 beats per minutes, or a 120 beats per minute version. But if you stay at 80 beats per minute version, it's enough. Okay, let's do that in the next lecture. Both hands together. See you in the next lecture. 107. Sweet Home Chicago - Both Hands together: Ok. Sweet Home Chicago, both hands together. Let's start directly with the Intro to first measure. I will first play it so that you have an idea how it sounds. Okay, so what you're actually doing is 142 and okay, let me explain this more in detail. So the first beat, one at and I'll also try that one. But I also tried it several times. One. And you take the third beat. And then you pray the first three beats. You take the fourth roots. And so you build it up very slowly. First, only the first beads done, the first two beats and a third of the first three beats down to whole measure. And that you do 13 if you do Rabi and buttons or sorry, your walk at three, and that you'd go to a third, meets the first three beats, one. And then you take the fourth beat with it. And sorted rock, fish. And let you take the next measure, Y 21 at 02:00 AM. Sorry, you have to do it rhythmically. So right up to here, that's the intro. This is, this is already the blues. I also tried it several times, builded up slowly. Tried several times than do it with your metronome. In the beginning, you don't have to use your metronome. You can count in your heads or loud. You'd say it out loud. But later take your metronome set, you're sure that you have a steady rhythm. Rhythm. Then. This measure, beat four of the second measure is actually already the beginning of the blues. But of course, you should also played in sequence so that you don't leave any gaps. So again, do it with the metronome. So tried it several times. Let me first without without this. Sorry. So thank you. That you tried it several times. Do it with a metronome. I say it again. So do you have a steady rhythm and what you can play that Dan, you play also. Soda hall first line then becomes, Be sure that you do for Edge button too. So it's not together. Now for one. Okay, let's move to the second line. It's as follows. The first three pizza. So it's the whole time. Left and right-hand art together. Already here. You play the right-hand. Only a quarter note. We had to add up to four AD. That's gotten together, left and right halves. Soda, whole, first measure, Dan becomes one. I will do it slower. Tried it several times, and then slowly go faster. And 34 and then you go. So also practice that transition from measure one to measure to this line. That arise I disable. That's just a whole note. And then slightly speeded up that whole time count in your head or Pudong. The metronome. Let's move to line three. That's sorry, the left-hand just states, stays on the answer. You come from this last measure. And that's, so, that's perhaps try that several times. You can slower and slower down as much as you like. The first triplet. You can also take only the first triplet. So the first head of your right-hand, together with your left hand or your right hand is along and add this third hit of your right-hand is again with your left hand. Same thing for the second beat. So try that several times. And then slightly speeded up. And then you have the first three beats. Then take the fourth beat. That's done. You have very slowly and then slightly speeded up. And of course, this your leave to the next, next measure and you change your left hand. So try to transition. Let me do it slower. So slightly build it up and you can increase the speed. You don't have to grow that fast, but just to show you, you stay on in measure three with your hashtag, the a. And it's exactly the same as the last second line edit first Niger. Let me do it slowly. And do it very slowly. The first two measures, left and right hand, are exactly the same. At the same moments you played a nodes y. And that beat three. The rights had just, that's just a whole, sorry, the coordinate out and the left-hand side does the three ads. And then you add the fourth beat. And with your left hand in the next line, you go on with the e. While your right hands just stays on the node e, s. So coming from the last line, the last measure, two, into the first measure of the fourth line. I've tried it several times. I'm going to go, you can do it as slow as you need to. Know that we have in the second measure the same pattern as we saw before. The first three beats. So coming from the first measure, That's the force. Bte. Left and right-hand go together at the same moment. So your leave your right-hand wherever it is, and then you go to the B7. With your rhyme types. You don't have to do anything. It will just stay on those two notes. So try that transition from the second to the third measure. Try it again and again and then slightly increase the speed. You don't have to go that fast. Then where you have had this last measure from this line. Go to the a with your left hand. Luckily there's one breast so you have some time to adapt for the right-hand tail. So be sure that you can do this transition with your left hand. Yes. So forth, that the first measure of this last line is so what did I do? First, count? All the left-hand, right time doesn't do anything. Seconds count. Left-hand does. The right-hand doesn't just so dry that several times. And take this third count. The third beat. I tried it several times. Speed it up. And I take the fourth beat, goes together with your left hand. So donned a whole measure. That is fourth. Beat, both hands together. And add, yeah, yeah, you speed it up. And then you go to the E and B in your left hands while you're right had just stays on that note. That's 41st counts. And then you can simply on the second count, third count, fourth codes. So try that's several times you're the E on the first count. And then you go, your, your left hand goes down chromatically at your right hand. The index finger also goes down chromatically. Well Dan, with the e, your pinky. So from this first count, the first beat of this measure with grace note. And then directly into the next measure. Let me do the first two measures. And that your lens with B and your left hands at G-sharp, ie, your right-hand, your right-hand can stay the whole counts to whole quarter note. Bought your left hand. You do. And when you're back on this B I'm sorry. I'm sorry. It's tried it several types. Don't forget to derive them. At 212. Sorry, should be to be 12. So let me do gel here from the beginning of the line. And then you started another round, etc. So again, this last measure, you have 1234 EDS. And let me do one more time and the whole last line. And that's all. Okay. I can understand that can be quite challenging, especially this coordination between left and right hand. If you cannot do it, again, it's as always, it doesn't matter. And if you can do it only on 80 beats per minutes, also, no problem. But let me show you. I will first put on the 80 beats per minute version, and then I will show you quickly the hundreds beats per minute version and down to 120 beats per minute version. This is really for DOS were advanced WHO could play it easily, otherwise, just leave it as it is and go on to the next lecture. So let me put it on. And that's a fear, right? So let me stop it for now. And Pudong DAY, a 100 beats per minute version. That's a new route. So let me stop it for now. And I'll put on the 120 beats per minute version. Okay, yeah, so I would say practice, practice, practice. And again, you don't have to play the 102120 beats per minute version. And actually not even 80 beats per minute, minutes version as you kind of play it. It's also fine. And if you can play it with your metronome at 60 and you're happy with it also, ok. You can just continue to the next lecture. Okay. See you in the next lecture. 108. The remaining Major Scales: Till now we have seen nine different major scales. You can see it in the diagram above, the major skills that we've seen till now. So there are still three more major scales that we have to see. Because the total is 12, Y 12. Well, because we have 12 different keys on the piano, 12 different notes. If you don't remember, ever look at the keyboard to piano keyboard. If we start, for example, all see that 123456789101112. So we have 12 different keys. I don't go to the next C because we had to see already here. So three missing major scales. So which one are they? So we have to complete our diagram here. Now you see that on the left, on the right side, we went already further than on the left side. So let's first continue to the left side. The most left, a major scales out of E-Flat. So which one is the next one? E-flat had three flats. Which one is the major scale with four flits? Now, as you know, every step to the left, on the left side of the C means one extra flat note. One. Each step to the left also means a fifth down. So what's a fifth down from E-flat? Now, of course, we don't know which noted this, so we cannot look at the major scale to see where the E flat is the fifth of. But we had another trick and it was going down 7.5 tones because seven half-tones Is the same interval as a fifths. So when we started on E-flat, let me take this E-flat Here. We go down 1234567 and we land on the a flat. A flat major scale is the major scale with four flats. So let me put it in the diagram. There it is. Well, let's go on. I will not do the a flat major scale now, we will do that later. I will just complete the diagram. So from a flat, let's go down seven half-tones. So that's 1234567, and that's D flat major scale with five flats. So let's put, let's put it into the diagram. Okay, so how many major scales do we have? Well, you can count them. There are 11 major scales. Soldiers, one major skill missing. Now if you look well, we have as many major skills on the left side, on the sea as on the right side of the C, drive, five on the right side, five on the left site, plus the seat, makes 11 major scales. So where do we have to place the 12th major scale on the right side or on the left side. So into the major scales with sharps or the major scales with flits. Well, Let's do both. I will go first to the right side, so to major scales with sharps, The last one was to be, so to B major scale, we know what it's. B, C sharp, D sharp, E, F sharp, G sharp, a sharp, B. So the fifths, that's 12345 is F sharp. So the major scale with one more sharp note than B. So with six sharp notes is that of F sharp major. Okay, let's look on the left site of the D flat major scale. So we're on D flat. As you know, for the flips, we have to go down seven half-tones because we don't know which major scale D flat is the fifth, so we cannot use the major scale here. But let's go down seven half-tones. That's 1234567, and that's G flats. The major scale with one more flip note than D flat. So G flat major has six flits. So let me put it into diagram. There it is. Now. Look at F sharp and at G flats. First of all, F sharp and G flat are exactly the same note, of course, because there are n harmonic equivalent. So that's why it looks like as if we have 13 major scales now, but actually they're just 12 because F sharp and G flat are exactly the same note. So that's it. We have all the major scales Now, of course, we haven't seen to major skills, but I mean, we know the major scales, how they are in this diagram, and how many sharps or flats they have in their major, major scale. Now, one thing you might ask yourself, and that's, hey, wait a minute. F-sharp has six sharps, and G-flat has six flats. How's that possible? We only have five different black keys on the keyboard. How can you have six sharps or flats? Wonder only five different black keys? Now, I will not explain it here, since we will not do in this lesson that the F sharp major scale or the G flat major scale, we will see that much later together with a D flat major scale in the, a flat major scale that we just add it to the diagram. And when we're doing d, g flat and the F sharp major scale, you will see that it's possible to have six sharps or flats, even when we only have five different black keys on the piano. Okay, in the next lecture, we are going to do something special, and that's the cycle of fifths. So, see you in the next lecture. 109. The cycle of fifths: I put here the diagram that we completed in the last lecture with older major scales. And I told you in the last lecture that the major scale totally on the left, the G flat major scale and the major scale totally on the right. The F sharp major scale are actually exactly the same major scales. G flat and F sharp are exactly the same notes. That actually means that we could display this whole diagram in the form of a circle. So let's do it. Let's make a circle of it. Oh, okay, there's our circle. Now you'll remember that when we displayed this diagram as a straight line, that every step to the right was a fifth up, and every step to the left was at fifth down. Now, step to the right corresponds in this circle with a step clockwise and a step to the left with a step counterclockwise. So that means that each step that you take clockwise means a fifth up at each step, counterclockwise, if fifth down. And that's why this circle is called the cycle of fifths, or also called the circle of fifths. Let's go to the top of our cycle of fifths. We see there the C major scale. We know that if we go one step counterclockwise, we go a fifth down. So from c, we arrive at the F-major scale. But you know that F is the fourth note in the scale of C Major, C, D, E, F. That means that instead of saying that from C to F is a fifth down, we can also say that from C to F is a fourth up. Since F is the fourth note into C major scale, and T-interval from C to F is a force. That means that going down a fifth is also going up a fourth. So I can also say that when I go one step counterclockwise, I go up a fourth and vice versa. I could of course also said it when I go one step clockwise, I go forth down. Now because of this reason, we also sometimes say that this is called a disciple of fourth, but I would say that the most common name is just cycle of fifths. No, this cycle of fifth looks very nice. But for what do we need the cycle of fifths? Now you can use the cycle of fifths for a lot of things. But one of those is, for example, look again at the top of the circle and you see to C major scale when, for example, I want to have a Blues in C, you know that the one d4 and d5 court, or the C, D, F, and a G. Now the F and the G are exactly the two notes that are on the left and the right side of C. So by just looking at the two notes that are left and right of our original note, we can find a four and to five courts that belong to R1 court. So let's assume that you want to know 2145 courts for a blues in a. Now the a is obviously the one court. So what are the four and to five courts? Well, just look in the cycle of fifths at UCI that one step counterclockwise over the a is the d, and that's our for CT. And one step clockwise of the a, we find the e, So e is the five chord. Now there are many more ways that you can use a cycle of fifths. But we will see that in the future. 110. Introduction minor scales - The A minor scale: In this section, we will learn about minor scales and minor chords. And in this lesson we will start with the a minor scale. And why did we start with the a minor skew? Well, because it's the easiest minor scale. But we will see that in a while because first I'd like to say this. There's not just one minor scale as there is one major SKU. No, there are three different minor scales. We have the Natural Minor Scale, the Harmonic Minor Scale, and the melodic minor scale. The only minor scale we will see is the natural minor scale. And the Natural Minor SCO is derived from the major scale, as we will see in a while. So as I said, we will start with the a minor scale. And I said already that's the a minor scale is the easiest minor scale. And that is because the a minor scale consists of only white keys. That means that starting on B, we just go up on the white keys till we arrive to the next a, B, C, D, E, F, G. Now this is important. You see that the a minor scale consists of exactly the same notes as the C major scale. Only. It doesn't start on the sea, but on a. So a minor and C-Major have exactly the same notes, inner scales. The only difference is that the root note is different. When you start on the sea. Then your root is the sea. And you're playing the C major scale. When your root is a, start on a, and you're playing the a minor scale. So you see that a minor scale can be derived from a major scale. Now, how does this work? We will talk about that more in detail in the next lesson. 111. The E minor and D minor scales: We saw in the last lecture that's the a minor scale and the C Major Scale share exactly the same notes. By the way, I say a minor scale, I don't say a natural minor scale. I shoot, of course, but very often I leave that natural out. So if I say a minor scale, I mean a natural minor scale. The a minor scale and the C Major Scale share the same notes. Since they share the same notes. But we also say that C major is the relative major scale, a minor. Or you can also say that a minor is the relative minor scale of C major. Now, you could ask yourself, are there more of such pairs of minor and major scales? And the answer is yes. Each major skill has its relative minor scale. And you can also say that each Minor Scale has its relative major skill. Now that means that we can easily find other minor scales. Now you remember that we fund major scales by the major scale formula. Now, couldn't you just make a minor scale formula and then derive with this minor scale formula, older minor scales? Yes, you can. Of course you can. But I think it's much easier to say, OK, each Minor Scale is derived from a major scope. And that's also the way that we are going to find the minor scales. Now, we started with a minor. C major, had the, the a minor C major pair. Let's look at two other minor scales. Know which minor scales are we going to do? Let's do the one that are in the cycle of fifths, just beneath the sea. So we know that C was on top of the cycle of fifths. And on the right side we have the G major scale with one sharp. And on the left side of the C, we have the F-major scale with one flip note. So we're going to look at the relative minor of G major and F-major. So what are those relative minors of G-major and F-major? Now to find that, let's first look. What is the relationship between this C major scale, a minor scale? Well, let's look at the roots. The root of the C major scale is of course c, and the root of the a minor scale is of course a. We see that the distance between the a and the C is 123 half-tones. Now, this distance is interval of three half-tones is also a minor third. How do you know that? Well, remember that the major scale, the a major scale, started with the notes a, B, C-sharp, et cetera. But the first three notes are a, B, C sharp. And we said that the third note in the major scale is the major third. The interval from the roots to the major third, we call it also a major third. We also said that if we lower the major third by a half tone, then we arrive at the minor third. So the interval from a to C is a minor third. That means that if we know that's a minor and C-Major, share to save notes, we can also say, hey, the relative major of a minor has a route that is a minor third higher than the a. And that makes that we can say, hey, you want to know a minor scale? Well, look a minor third up. And to take the major scale, take the notes from the major scale. Of course it can also say the opposite. If I have a major SCU, I can go down from the root and minor third and arrive at the root of the relative minor scale. And that's what we're going to do in this lecture because we said, we're going to look at G-major and F-major. Let's start with G Major. What is the relative minor of G Major? Well, let's go down minor third. Up a minor third. I think that now the easiest way is just to go three half-tones down. So from g, 123 and I arrive at e, that means that E minor and G major share exactly the same notes. G-major. We hope you remember. G, a, B, C, D, E, F sharp, G, one sharp note, the F-sharp. Okay, let's take all the notes from the G major scale, but starting on IE, E, F sharp, G, a, B, C, D. And that is the E natural minor SKU. Simple, isn't it? Let me do the same thing for the F major scale. From F minor third down, or three half-tones, 123, and we arrive at D. So that means that D minor is the relative minor of F-major. Okay, let's look at the F-major scale. One flip note. F, G, B flat, C, D, E, F. Okay, let's start that exact same skill, but then on the node D, to arrive at step D natural minor scale. So the D natural minor scale consists of the notes D, E, F, G, a, B-Flat, C, D. Okay, so that means that we now know three different natural minor scales. A minor, which was derived from the C major, sco, e minor, which was derived from the G-Major SCO, and D minor, which was derived from the F major scale. 112. The A, D and E minor chords: So now that we've seen three minor scales, I'd like to look at the corresponding courts, that triads and seventh chords. So let's start with a minor. A minor scale. We know it only white keys. Now, the a minor dry it is formed in the same way as that you would form a major triad. So take the root, the third, and the fifth of the scale, in this case the minor SKU. And you have the a minor triad. So let's start. So the first five notes, of course, a, b, c, d, e. So the first third fifth are a, C, and E. This is the a minor triad in root position. Also here you can make inversions, of course, first inversion. Second inversion. Now, what is interesting is to see the difference between a major, a major triad and a minor triads. Remembered at the, a major triad consists of the notes C sharp, and the a minor triad consists of the notes C and E. So only one note is difference. And that is the third in the scale. In the a major triad, we have the major third. In the a minor triads. We have the minor third. That's the only difference. The root and the fifth are the same. That means that instead of looking at the D minor scale and then taking the root, the third, fifth to determine the minor court, The did a minor triad. You can also say, OK, just take the major, try it. Don't take the third into scale, which is the major third, and lower it by a half tone to the minor third. And I have to minor triads. And that's all very simple. So that's concerning, that try it. What about the seventh chord? Now remember that when we tried to make the dominant seventh chord. So that's a major core tight because as it has a major third that we took the minor seventh, that was one whole tone below the root. The minor seventh chords is very simple. Also here. You can just lower the third major thirds by half its own. And you have the minor seventh chord. So root, minor third and minor seventh together. Is the a minor seventh chord. Now, you could also make a court with a major seventh and the minor third is perhaps a bit strange sounds if you're not used suites. That is the so-called minor Major, seventh chord. Minor because it is a minor third and major because it has a major seventh. But that is a course that is using Jess, not really allowed to blues. So we're not looking at discourse at all. We're only looking at a minor sentence courts. So the only difference with the a dominant seventh chord is the third. A dominant seventh is a minor seventh. So that means also here, the inversions are very simple. This is of course the root position. First inversion, second inversion, third inversion. Also here of course, is seventh courts have four different position, root position first, second, third inversion. And the minor triads just have three positions, root position, first inversion and secondary version. Same thing as with major chords. Okay, so dense, the a minor and the a minor triad and a minor seventh chord. So let's look at the D minor chords, the D minor triads. So we will now use the simple methods. We looked at the D major triad and we lower the third in the scale of C. D, of course, the major third of D is the F-sharp. We lowered by a half tone to f, and this is d, f, a. The D minor triads. The root position, first inversion, second inversion. Let's look at the D minor seventh chords. Now. Of course, you can take a D minor triads. The root one holds on below to do just a minor seventh. And that is the D minor seventh chords. You can also say, okay, I take the d seventh chords and dominant seventh chords and our lower, the third, the major third, minor third. Of course, it has the same results. This is the D minor seventh. Try as sorry, not triads into D minor seventh chords. D, F, a, C in root position. First inversion, second inversion, third inversion. Okay, time for E minor. Let's look at the E major triad. E G-sharp, B G sharp is the major third in the key of E. So we lowered up with a half tone to the minor third in the key of E. E, G, B is the E minor triads in root position. This is the first inversion, and this is the second inversion. Let's look at two D minor seventh chord. So this was a trial. It take the seventh and the minor seventh, which is one whole tone below the roads. Or take the E seventh chords and just lowered the third. It gives the same result of course. So E, G, B, D is the E minor seventh chord in root position. This is the first inversion. This is the second inversion. Third inversion. Concerning the notation of the minor triads and minor sevenths courts, it's very simple. Let me take the example of the a minor triad and a minor seventh chord. That's as follows. The a minor triads, we just notate it as capital, a soda and a root in capital. And then a little m for minor. For the a minor seventh chord, you can notate a capital a with a little m and done as seven. Okay? There are other notations. Instead of the M. You see sometimes and I, N min. So 87 for example. Or if you take the try it a, IN another way of notating the MRD is by a minus sign. So you sometimes also see a capital a with a minus sign, or that's a trial, or a, with a minus sign. And the seven, that's the a minor seventh chord. Okay, that's it for now. I see you in the next lecture. 113. Again: the cycle of 5ths: Let's again have a look at the cycle of fifth, which you see displayed here. And just eat a typo to nice circle around it. What we will do with this cycle of fifth is that we will put an inner ring into this circle where we will put the minor scales. Why can we do that? Well, because as you know, each minor scale is related with a major scope. For example, the C major scale is related with the a minor scale because a minor is the relative minor of C major. So in my inner ring, I can put a minor just in the same segment as C major. Now, I put here a minor with capital a and an M. That's actually the court notation. I'm not speaking about courts, I'm speaking about scales, but I used a court notation for now just to keep the cycle of fifths simple. So a minor isn't the same sentiment as C major. As we know, we can put in the F-Major segment, the D minor scale, and in the G major segment, D E minor scale. What I will also do is that I will put the key signatures, so indicates of C Major, that's just a staff with a treble clef indicates of G-Major, we can put the F sharp in the key signature and indicates of f, we put this key signature. Okay, now our purpose is to fill in all the other minor scales and key signatures in this whole cycle of fifths. Now of course, we haven't seen all the other minor scales, but we can still fill in our cycle of fifths by just going a minor third down from each major scale. So let's go to the D major scale. When we go from D minor third down, or three half-tones, we arrive at. So we're a D, 123, that's B minor. As you know, the key signature is two sharps. So there it is. Let's go to a. From a free half-tones down, brings us to F sharp. So F-sharp minor is the relative minor of a major. And this is the key signature, as you know. Let's go to E Major. From E one to three half-tones down, takes us to C-Sharp. So C-sharp minor is the relative minor of E major, and this is the key signature for sharps. Then we arrive at B major from b one to three half-tones down. And we're at G sharp minor, which is the relative minor of B major with five sharps. Okay, 1 fifth up from B takes us to F sharp. Let's go three half-tones or a minor third down, 123. And that's D-sharp. D sharp minor is the relative minor of F-sharp major with six sharp notes. Okay, let's do the left side of the cycle of fifths. So the major scales with flip notes. So the F-major scale and the D minor scale we have already, let's go to be flit. So from B-flat, minor third down, or three half-tones, takes us to 123. G minor. G minor is the relative minor of B-flat major, and it has to flits, and this is the key signature. The next one is E-flat. From E-flat minor third down. 123 takes us to C. C minor is the relative minor of E flat major. And the key signature has three flits. The next one, a flats, and we don't know it yet, but it doesn't matter. A flip, 123 takes us to F minor. F minor is the relative minor of a flat major, and the key signature has four flats. Okay, d flips major, 123 half-tones down. A minor third Don takes us to B flats. So B-flat minor is the relative minor of D flat major. B flat minor has as D flat major five flits. So this is the key signature. Okay, one more step, and we arrive at G flats. 3.5 steps down. 123 takes us to E-Flat, which is of course the enharmonic equivalent of D sharp. So E-flat minor is the relative minor of G flat major with six flip notes. And here we have our cycle of fifths completed with major scales, with minor scales, sharps or flats, key signatures, everything's there. Now, this shows us an extra advantage of the use of the cycle of fifths. Because you have, in one overview, all the information of major scales and minor scales, the sharps or flats, key signatures, and the minor, Major Scale relationships. Everything in one simple diagram. 114. Minor Blues - Ain't no Sunshine - Introduction: So now that we've seen minor scales and minor chords, let's have a look at the minor blues. And first of all, what is a minor blues? What's the difference between a minor blues and a major blues is a minor blues, blues that consists only of minor courts. And a major blues, blues that consists only of major courts. Well, no, the minor blues can contain major courts. And major blues can also contain minor courts. So what's the difference between a minor blues and a major blues? Well, a minor blues is written in a minor key, which means that the one chord is a minor chord, Since the one court is per definition and the key in which it piece is written. Till no, we've seen only major blues. So for example, a blues in C, the one court is either to see try it, or deceased seventh chord, both which are major cores. But in a minor blues, let's say a blues in C minor, the one chord is a minor chord. So in this case is C minor court. So either to C minor triads or the C minor seventh chord. And how do the other courts in C Minor Blues, Luke? Can you simply take a C Major Blues and make up all the major courts, just minor chords, so that the 124 and to five courts would be C minor, F minor, G minor. Well, that is a possibility. You can make a C Minor Blues and this way, but it is not necessarily the only option. As I said before, you can have major courts into minor blues. So let's have a look at some basic minor blues progressions. Now, as I said before, you can't just take the courts of a major blues and replaced them with minor courts. So for a Blues and C minor, This would result, for example, into following blues progression. This is one of the most basic forms of the minor blues progression. And you see clearly that the C minor is the one chord, F minor, the forecourt at G minor to five cores. I put here only minor triads, but you can also put, of course, minor seventh chords. As I said, a minor blues can contain also major courts. And major blues can also contain minor chords. So let's see in this minor blues how we can insert a major court. Now the major court in this kind of standard minor blues progression is mostly to five chord. So in this case the G. So instead of G minor, you could take normally G or G seventh. The forecourt in a minor blues is normally lift minor, as well as of course, the one court, otherwise it wouldn't be in minor blues anymore. So in this section about blues with minor courts, we will not only do minor blues, but also major Bruce, but with one or more minor courts. And we will start our next blues. And that's the song, Ain't no sunshine, which is a minor blues. And after that song, we will do the rest of Blueberry Hill, which we started a while ago, which is in a major key, but contains minor courts. Or actually I should say, minor chord because there's only one minor coordinate. So as an introduction to the song, Ain't no sunshine. Let me quickly talk about the chord progression in that song, which we will do in the next two lessons. Now, ain't no sunshine is a Blues with an eight bar blues form. So nuts did Coleman 12-bar blues form as we were used to. And it's formed of four bars of the one minor court, one bar of the five minor chords, one bar for minor courts. And again, two bars of the one minor chords. Ain't, no sunshine is in the key of a minor, which means that if we will see the sheet music, you will see no sharps or flats. So it has the same key signature as C major, which is totally normal since C major is the relative major of a minor, and a minor is the relative minor of C major. So let me fill in the courts. So the one chord is a minor, the four chord is D minor and the five chord is E minor, which gives us the following blues progression. Now, to be honest, those are all the courts that appear in ain't no sunshine because we have some passing courts. But this still remains the basic structure of Ain't no section. So four times one minor, onetime, five minor one time for minor institute times a one minor. So what are those passing courts? Well, they occur in the first, the third, and the seventh measure, which are all measures and where to one minor court is played according to this basic blues progression for ain't no sunshine. So what are those passing courts? Well, instead of only a minor, we play for the first two beats, a minor, and then for the next two beats we have E minor and G And the E minor NDG are passing courts. So you can say that the E minor, Well it's actually the five minor court. But what is the G? Well, the root of the G minor chord, which is G, is the seventh minor seventh in the key of a. But I wouldn't consider it now as what kind of course they are. They're just passing course. So for ain't no sunshine, the Basic Blues Progression, four times one minor, one time five minor, one time for minor and two times one minor remains when we only have in three bars, some passing courts. So in the next lessons we will start with this song with Ain't no sunshine. And you see that we will use the three minor chords, a minor, D minor, E minor. We've learned so far. 115. Ain't no Sunshine - Left and Right Hand: So we will do in this lesson and no sunshine. And a former lesson I already showed you with the courts in the eight bar blues progression that we, that is no sunshine. And which you can see again here in the sheet music. Now, I will do in this lesson both left and right hand and why? Because it's actually very simple. As you can see on the sheet music. It doesn't look very complicated. Now the only little bit more difficult thing is that we have in the right-hand 16th notes, which you can see all over the place here in the sheet music, but I'll explain that later how that works. Those 16th notes, when we're doing the right hand, we will start with the left hand because the left hand is the most simple as you see. It's only quarter notes, half notes, whole notes, half notes with a dot, so three beats. But before we start with the left-hand, let me first explain a little bit more about this, about the sheet music. First of all, you see that there is a pickup measure, and that's pickup measure is three beats. Of course you see two times 2 eighth notes, so that's beads together. And that last thing, yeah, that's also a one beat. How can you see that? Well, you see first an eighth note with a dot. So that's an eighth note and well, 50% more, so that's eighths nodes plus a 16th note. An eighth note is to sixteenths. Sixteenths plus 1 16th is 3 16th notes. And after that, 1 16th notes. So that makes together four sixteenths and four sixteenths, as you know, is one quarter and one quarter note is exactly one beat. So we have three beats here in the pickup measure. And then the eight bar blues starts. And you can see that it starts with repeat signs. So the repeat science, the repeated part ends here. So you have to repeat that. But when you arrive at the end of this repeat part, you see VSL coda, which is second alco that, and it means from the same two CO down. Now this sign, this sectional we sought already before, it's in the beginning at the first repeat sign. So when you did the first time, the whole eight bar blues part, and you go back to the sign to the beginning. And I'll go that it means so from second to colder, and colder is this sign here. So you don't go to the end. You only go to Kodak. And of course you don't stop there. You on where to next code assign is, which is they're totally Downey. Last, the last line. And then you have, again to repeat science. But you see above the second repeat sign that I have mentioned three times. So don't repeat it twice, but three times. So you play this three times and after the third time you go to the last measure, which is the final measure of Ain't no sunshine. Okay, so now you know how to play or in which order you have to play all the measures. So let's go to the left hand and it starts after the pickup measure. Of course. You have the nodes E, a and c. Two beats. So two, and among beats three, we have E, G, B. I don't beat four, d, b. Now what you're actually doing is outlining the courts. So the first two weeks, that's a minor. Now you see it, it's an a minor triad in second inversion. Then in B3, an E minor chord, a minor triad in root position. And after that, we have the G triad, G major triad in second inversion. And so that same bowl and the next measure I can directly do it because it's so simple to times two counts, two times two beats of a minor. So the whole two measures are 12341234. So let's move to the next two measures. And it's exactly the same. So 1234234. So I can move to the next line, which is two measures of E minor and to, to measures of D minor. And we're just outlining the E minor chord as we did before with the EEG v, two times two counts, 1234, then two times D minor, you just take the whole thing, one tone down. So the two measures together, 12341234. And then next lines, well, this we have seen before, it's exactly the same, 1234. And then in the last measure, again, the a minor, but three counts to three. Ok, so let's go to the very last line, which is after the repetition. And here, again, the same two times a minor, two counts. And then in the next measure again, 1234. And that's all. And then you have, of course, the last measure, which is a whole tone. So if I would play those three measures altogether, it would be 23412341234. And that's the whole left-hand. There's nothing more. So to practice it, you do it with the play along track and let me pull it on just to quickly show you. So because there's a pickup measure, you hear the metronome five times, so that's 12341. And unknown to the melody starts, in this case. I put the melody with the play along track because he played for now only the left hands. So let me put it all. 12341. Okay, let's do the right-hand. And first of all, very important is to notice that in the beginning there's no mention of swing. And exactly there's no swing in, ain't no assumption. It's just a straight rhythm. So we don't count in triplets, we don't count with swing feel, but just with straight field. So just 1234 end. Ok, so we started in the pickup measure and we have directly this 16th notes. First of all, let me first explain how we count 16th notes before I start the right-hand actually, because we know that when we have only quarter notes, we can just count 1234. When we have eighth notes, we can count 1234. And what do you do when you have 16th notes? Well, between the one and the end, you put 0s and between the end and the next beat. So in this case the two, we put. So E and, and we do that in every count here. So if you would have only 16th notes, so four times 4 16th notes in the measure that you would have. One end at 2nth, F3 and F4. And, and so that's how you can count 16th. So how would you count this first pick up measure? Well, of course wonders nothing because there is no first beat in this measure. Two will be 23 will be also three. And, and then the last beat will be for E and F. And you play only on the fore. And so when I would play it. 23440 and on the fore, and you played so 234 and N. And let me take the next two measures because the second measure is just a whole tone that simple. And the last measure is exactly the same as the has to pick up measure. So let me count. And I will count like the metronome counts. So 12341 and then I start 1234123412341234. And so try that, try to count with it. And so it is four. And perhaps in the beginning is that it's a little bit difficult to count like that. If you don't want to count, do it in your hand and say just 1234. Actually, what you're doing is to divide this whole count is hold beat, fourth, beat into four. So if you find that easier, you do 1234. And why not? Let me play this whole first line. 12341. Okay. Yeah, I could actually also directly take the second line because it's exactly, it's just again, a whole measure, a whole note. So when you come from this last measure, 2341. And then we have again this sort of second measure, which you see displayed now, begins also at B2 because B1 is a, is a rest. And how should you count this? So it's 234. And I should have said, and because it's 2 16th notes. So, so it's 23. And, and you hold the, the end of three into four. And then you have. So, so that's, let me do it again. Rests to add 34 and dead. If you don't want to say NDA, you can also just say end. But you play two notes. In that case you would say rests. 234. Okay, let's move to the next line. So defers to know it's a simple one and, but then you have an eighth rest. So that falls exactly on the two here. So it's 12. And then on the end of two, you have 2 eighth notes. So it's 12. Or you can also say n, one to n. Yeah. Let's take also the last 4 eighth notes. So it's 1234. And so one adds to enter 34. Okay? And then the last measure, 16th notes, and then three sixteenths. So it would be bad when you do it in four windy and the 1D and then so 1231234. And then the next one is to three. And this last one looks also very difficult. But it's not so very difficult because what do you actually do? 1 16th note to 16th, eighth, 1 16th. So if you would sing it, it would be one for sorting another one but for, for E. And as you play on the, for the E and but not on the end. So it's 848. And so, yeah, this is a little bit more difficult, this measure. So what you have, let me collect with it 1234. And I collects already the first of the next measure. So let me do the whole two measures to gather together. 1234. Okay? Yeah, this is not very simple. But when you divide each count, each beat into for either by saying h1 e and or by say dock, dock, dock, dock or whatever you want or 1234. That's so for example, this into second measure to first beat 1234. And then you have in the second beat 234. That's the second beat. The third beat is just 32341234223432344234. Dot, dot, dot tum, tum, tum, tum, tum, tum, tum, tum, tum. It's a way you can practice it. Okay, let me go to the next line, which is not too difficult. First measure, of course, just the whole Measure a. And then we have, again, we've seen before one. And of course it goes back to the a 1234. Okay. I will just explain the last line, which is what we've already seen. Because this looks very much like the difficult measure we've seen before in form in two lines ago. So it's one dot, dot, dot, dot, dot, dot. So that's one TAC, TAC, TAC TAC, TAC TAC, TAC, TAC TAC. Count with it. Okay. Not when it's very difficult to count with it. I would just say, try to just listen to what's the melody does in the play along file and then try to play it the same way. Now finally, let me play the right-hand for you so that you can see how it's done. So I'll put it on. Oh yeah. Before we begin. Be aware, you will hear the metronome so five times, so 123 for one, and then you start the melody. So let's start 123, 41. Okay, that's it for now. In the next lesson, we will play it with both hands together. 116. Ain't no Sunshine - Both Hands together: Let's do both hands together. So the first measure is of course only the right-hand, right? So 123. And then very simple, because the right-hand is just the whole note. And you do too. So the hole will become one. So in this last measure, be aware that the second time that you play the a minor chord is when you're on the a with your right hand. So the last measure is 123. That's on the three. Okay, let me again do the whole line. 12341. And I go to the next measure. Sorry, adds to do left hands together with the c. So let me do the second measure, Y to add three. Okay, so on the three, that's not very difficult. As are those two measures to gather are and we have in the next line. That's so nothing difficult If you can play right and left-hand apart. It's not so very difficult to bring those two together. Since yeah, the first beat is just, sorry. When you played a C, you play with these, play the scene with the right-hand, you play the court with your left hand. And then next measure. This is a little bit more difficult, if not the first beads because it's just. So when I would count this second D minor chord has to be on count three, of course, on beat three, so it's two to three. So 12342. Hats are both measures together are 1234. Next measure. And that's again same Paul, 2341234. And then, yeah. And then you go back of course, to the beginning. Ok? Now in the case that you, you play it for the second time, that you play only measure one and go down to the next line. So you have that. Yes, sorry. Two. So count well, those are the two measures together. Has only the second measure is not difficult because it's the whole time the same. But the first measure we have to, perhaps to count a little bit more. So let me play those two measures and I go directly to the end measure. Okay? Let's try to play it with the bent together. 117. Blueberry Hill - Introduction: A while ago we started to do Blueberry Hill, and I already promised you that we will do the second part. So that's no. Remember that in the first part that we did only part a, which we call a verse. And I said there was also a part B, which you can also call it a bridge. But for now I prefer to call it as Part a and Part B. And we said that one whole round is AABA. Now two elements. For now, we will do, let's say 1.5 part. We will do AABA, BA, but you can of course, do it as you want to play along. File is made like that. Sasso AABA, BA. Now let's have a look at the sheet music which you see the whole time displayed here. And let me explain how it works. I told already about repetition. Repetition marks here. That's still the same as we had before. The only thing is that you now see in the endings. You see here ending one and here ending 23. So that means the first time you end at ending one and the second and the third time, you take ending to three. So what does it mean? It means that you first go to ending one. So this part done you, you repeat, you go back to your CDA sign, then you repeat the whole apart and do the second ending. Then you go on to the B part and you see that the at the, at the end of the b part, you see ds. Now, ds means del signal. That's Italian, and it means from the sine. Now, which sine? Well, that's sine is in the beginning of the a part here. So that means that from the end of the b part, you go to secondo sign and you play again. So for a third time a, that means that you go to ending to three. And after ending to three, you'd go again to the b part. And after that, you can do the final a section, which you see this blade here. And that's leads you towards the end of this aa, ba, ba structure that we made here. Okay, as I told you before, when we did the first part of so already a part of Blueberry Hill that we had only in that a part. Major diets. We'll stay the same. And the B part, we will now add seventh courts and minor triads. The seventh courts, by the way, are only dominant seventh chord. And the minor triad. That's only to D minor triad, which you see displayed here two times. And it's not a seventh chord as you see just a D minor triad. Now, you'll see that especially this B part doesn't look at all as a blues because where are to one to four and to five courts know, first of all, I said it before when we did part one of a blue, Blueberry Hill. Blueberry Hill is strictly spoken a blues, but it's still count it as blues repertoire. So that's why we still do this, this song in discourse. Secondly, Ada blues. Till now we have seen only 145 courts, but it doesn't mean that a blues has always only 145 course. We will see later on that a blues can also have other courts. Now, the a part for us looks more like a blues because it has 145 course, even if it doesn't start with a one-quarter but with it for CT, I've been talking about debt so before in the first part of Blueberry Hill. And we've also seen that the a part has only eight measures, eight bars as has so to beat markets. Now a blues for us until now, for what we've seen, always had 12 bars. But not all blues progressions have only 12 bars. You have 14 bars, 16 bars, or even utter number of bars, blues progressions. Okay, that's it for now. You know the structure of the song now. So let's dive in to the whole song. 118. Blueberry Hill - Right Hand: So let's finally start with Blueberry Hill and we will start with the right-hand. Now. As you remember, we have done the first part of Blueberry Hill already. So the apart we did and yes, it's exactly the same. So you already know how to play it. And if you don't know, well, you can go back to where we did the first part. Where we did the a part. Okay. Let me For this reason, I show you one more time the sheet music. There it is. And what are the differences? Of course, the b part is different. It's new, but there's also a little difference at the end of the second ending, which is now the second and the third ending of course. So let me zoom in to that part, narratives and let me put at the right site the original part, the part that we did in the former lecture when we did only part one, part, part a of Blueberry Hill? No. So what's the difference? The only difference is in the last measure of the second ending, which is now the second or the third ending, is that it's continuous with the triplets in the parts that we did before. We end it with a whole tone. So the whole chip, the whole court to try it be flats was during the whole measure. It Now we go one with triplets to beats of B-flat and two beats of F. So that's one difference. The second difference, we'll call this actually a little bit the same is that the final a section you saw it already in the last lecture is now, it has now the ending that we did before in the second ending of the a section. So let me go to that part. Here it is. So that's what we're already used to. Yeah, so this is the final section. The last two measures. It now with ends with this B flat. Try it the whole measure as we were used to before. So that's actually the only two differences. So what's you? Well, the hole B section. And of course, this last measure in this third, second, third ending. So let me first go to this second, third ending just to show you quickly how to do it. It's, of course very simple because it's what we've done the whole time already. So it's two beats of B flat, so and then two beats of f. So the whole measure is instead of what we did before, we end it with just the B flat, dry it during the whole measure. Now we have one. Or if you want to count with triplets. So that's the only difference. So after that, you go directly into the B section. So you have, in the B section, you have, again b flat in triplets. So when I just go on playing from this last measure of this second, third ending of the a section into the B section. You have 12341234. That was already the first measure of the B section. So nothing new. Just be flat triads plate in triplets. Second measure, there's a new thing because we now play seventh chord, the F seventh chord in first inversion. So a, c, e flat, f. So those two measures together are then 12341234. So nothing difficult, but we were used to first play only EFF, DEF, Try it. Now. We add the seventh, minor seventh. Okay, let's go to the next two measures. We have again one measure of B flats blade and try it's nothing new. But then the second measure, we play the B flat seventh chords and we play only three notes as you see. And then you would say, hey, but that it's a try it. Well, no, Try It is always root. Third, fifth. Yes, so this is the B-flat major triads we're now playing is. So that's the suffers. When this is the wrote a whole tone lower, we have the minor seventh, seventh, third, fifth. So I don't play the root here. So, yeah, can I say that it's a B flat seventh chord when I don't play the root, well, yes, I can. I don't have to play the root. Well, actually, as you can see, with a left-hand, you play the root. And well, if you play it with a bass player, then the bass player will play the route. So you don't have to play the root two to play the B flat seven scores, so that's one. Those are the first two beats of the belief of this measure Had B flat seventh, and then the next two beads are a seventh. So actually what you're doing is taking the whole thing half-tones lower. And you see that I have the same shape. I don't have the root because this would be the triads. Major third, fifth. But instead of the route, I played a minor seventh. So exactly the same shape as the B-flat seven. So coming from the B flat 71. 234. Okay. And then the next measure, we have finally our minor triads. Minor. In second inversion. You go back to measures to two beats, three and 4x to the seventh. So this whole measure is 1234. And the second measure is exactly the same as the first measure and I, so when I played the two measures together, then it's 1234. Then we have the last two measures of the b part. And there we play the D major. Try it in second inversion. Now you see that the only difference with the D minor triad was the minor third becomes the major third. So does 134. And then in the second measure, we just ends with an F seventh to the same shape as we saw before. Just on beat 12 measures together. Our 12341234. And that's the whole beep art dire. We've seen actually everything we need to know to be able to play the whole right-hand part of Blueberry Hill. So I will play it with the play lump file and I will play the whole song. So that means a, a, b, a, b, a. So let me start. There. We go. 0. But by design, the first time. Okay, that's it. I forgot to tell you. But you have seen that already. That you don't have to forget the intro. So I mean, you don't play there. So you let the intro play lead to Ben's do its job than you have. And that you started. But I told you this already in the first part of Blueberry Hill. Okay, so practice it well so that we can do in the next lesson that left-hand. So see you in the next lecture. 119. Blueberry Hill - Left Hand: Let's do the left hand of Blueberry Hill. As with the right-hand, it's only the b part that we have to learn. And perhaps this last measure in the second, third ending of the a part is a little bit different. And for the rest it's the a parts are all the same. So let me first move to this second, third ending in the a part. So we saw already in the former lecture that we have Dare to beats of B-flat, beats of F. So that means that the left hands that just does two beats. So half tone of b-flat at two beats. So a half tone of F, And that's all concerning this last measure of the second, third ending. So let's move to the B part. And also dare. Yeah, well, it's it's almost the same as you're already used to. What you've learned in the, when we did part a of Blueberry Hill a while ago in this course. It's almost the same. So let me move to the first two measures. It's one measure of B flat and one measure of f. And for B flat, you know, the rhythm, the there, so 1234. And so, or you can say that's, that's, that's, you know, the rhythm. It's exactly the same as that we did before when we did Blueberry Hill for first-time. So one measure of beef lit and one measure of F. And that's all. Let's move to the next two measures, where we do again, what measure of B flat? And then in the second measure we have B-flat seven. But we now don't do this rhythm because the second half of the measure is an 8 seventh. So what we do is just a half tone of B flat and the half tone of a mass. So we came from the B flat to first measure. And we can either with finger four or perhaps fingers three. D B flats in the second measure. And then we go with our thumb on the a. Because in the next measures we have to, we need our head for some lower notes. That's why I'm going with the thump on the a. So let me do it a whole two measures. And you see that already? The last note in the measure. Let me taken with the finger for yes, finger forward as best. C-sharp. So what is the rhythm? So 1234 at the end of four. Now this C-sharp is actually an introduction to the next measure, which will be a D minor. Now white C-sharp, because it's a note which is a half tone reload the d.school. It's nice. When you come from this a, two before you go to the D to go via this C-Sharp. So last measure, sorry, we'll have the first d, B flats, 1234. And then in the next measure, we start with D. So let's go to the next measure. So we came from the C sharp. And that's only one cow. J-pal Lab. J-pal Lab. By that's the whole measure. You have D, G sharp, a C sharp, which goes into next measure again, two to d. So you see that this G sharp is going to DNA has, it's like this C sharp which is going to, to D. You approach actually denote D to D in this case. That's the a in this case, with a half tone under the root. So we have for this measure, 123 for ads. Or if you want to do with triplets, JPL lead chip, chip. But yeah, at both measures are exactly the same. And so that's, that's, that's, that's the object. But that object, and that actually I already played. Denote next to the first note in the next two measures, gotten going to D. So I've tried it several times. Rob 234234, add R1. Try that several times. Lets go to the last two measures. And that's where we came from, C-Sharp D. And that's again, the rhythm we already know. And what shout. We now have F-sharp. And because it's a D chord, D minor. So y, two at 34. And the last measure, just on the first beat, f. So the last two measures and dare we have everything we need to play the left-hand of Blueberry Hill. Again, the a parts are exactly the same as that we were used to, except the last measure of the second, third ending. Okay. Let me plays with the bend. There we go. Okay. As such. Okay. Okay. That's it correctly, is it well, so that you can play it in the next lecture where we're going to play both Heads Together. See you in the next lecture. 120. Blueberry Hill - Both Hands together: Okay, I hope you practice well, both, hence. So let's now try to play them together so that you can play the whole soul Blueberry Hill with both Haden's. Okay? As before, we're just going to look at the last measure of the second, third ending and then do the whole beep arts because again, the, the a parts, we learned them already before. So let's move to the last measure of the second third, ending the B flat for two beats and the F for two beats. So we learned already the left and the right hand. And it's quite simple, of course, it's just when you play the B flat. You just hold the B flat and in the left hand and add 40 F court. You just play the F in your left hand. So it's just sorry, Jen. And that's all. And from that, you go directly into the B part. So let's move to the B part. And I will just play this last two measures of the, of the ending 23 and then go on with the b part because the B part, we know it already. Yeah. Sorry. We have we have done it already before. So let me do the last two measures of the ending to three of the a part and then go directly into the first measure of the B part. So it's just what we know already. So it's really quite simple. Just practice this transition from this last two measures of the ending. Okay, and then we can go directly into the seconds measure. Would we already know? We did it already? A party only differences that we add. The E-flat. I don't have to explain you exactly how to do it because it's exactly the same as that we did already in the a parts. Alright, so the first two measures, and that's all. Let's move to the next two measures. And there again we have the first measure, what we already know. And then 40 BY flip seventh chords. We only have to hold the B-flat that you're left in our left hand for two beats. And so we come from the first measure. Of course I have to do triplets in my left hand, but that was just to show you how you'll have to land with your hands into the second measure. So let me do it over and then I will continue with the triplets into right-hand. Yeah. So simple. You just hold it during two counts and then so rapidly what do we have to because data several times. So just on the last hits with your right hand, you also pay this C-sharp with your left hand. And let me do the whole two measures. That's all. As you know, we didn't go to the D minor E. So you QUT trial so directly this first, just to have this transition does move. So let me play the, the two measures, and I will play the first head of the D minor. So try that several times then you know how to make the transition. And then so we're already in the next two measures. So we landed with finger three on the d s. So tried it. Sid, G-sharp, you hit it's well, you hate the last D minor chords with your left hand. So it's dry that several times. 1231232312. So that's this last brooch note into the next court is always on three or I should say triple lets on the let. So you have matched by the last jet, but I'm always on the, Let's both measures aren't exactly the same. So you can blade twice, exactly the same thing. And then, yeah, so let me play them again and I will go already to the next chord, which is a D in second inversion. So you come from this last a seventh together with the C-sharp with your left hand that literally the last, the last note of the triplets. So when I take this one also, so I play the two measures and take already this first d that I have started on the D minor of the first measure. And then you land on the D. Of course you have to pay triplets, but just to show you the transition, so let me go to the next measure. So you're with finger three of the G here. It's exactly the same rhythmic rhythm as we're used to. Temper at pum, pum, pum, pum, pum, pum. So nothing new here or either displayed with a D in the right-hand, a D major triad. And then you just on the F7 scores for one count for one beat. So both measures together are 234. And that's to be part. And that's all. Because the a part, B part, we know everything now and we can play it with the bends. So let's do it. There we go. A third parameter, delta conversion factor. And perfect, under 1% per month number. Delta delta lambda greater than 0.119101.999 thousand. And the number of factors that are not refer. As. Other countries enter, enter, enter, enter, enter ten protons and 10 thousand. And my mentors and 1 third, 1 third, 1 third, 1 third, 1 third, 1 third, 1 third, 1 third, 1 third, 1 third, 1 third. Times better than that camper van after that. And then from those from untempered by 1.5 times N times the natural log of that number. 121. Some more minor scales: In this lecture, we will look at three more minor scales, natural minor scales. Let me bring up the cycle of fifths to have an overview of what we have done already. And here you see which major scales we've already done and which Mayner skills we've already done. So we could actually do all the minor scales of which we know that our relative minors of the major skills we already know. That would give us more than three minor scales, but I will limit myself now to three minor scales. We will do B minor scale, the G minor scale and the seat minor scale. Because actually what I wanted to do is to have at least as many as possible minor scales that have white key root. So let's start on a white key. You see that the only one that has a white key route and that's not in our list is the F minor scale. What we will do in the next lecture is the courts. And in this lecture, the scales. What I will do is that I will also in a next lecture, do the F minor courts, so to try it, and the minor seventh chords. How can we do that without the minor scale? Well, we've seen that before. He actually, it's much easier to determine the courts than the scales. So that's why I will include in the next lecture also F minor, but not now. Now what we are doing to scales. So only three minor scales, B minor, G minor, and C minor, which aren't derived from the D major, B flat major, and leaflets major scales. So we will start with B minor, which is derived from the D major scale. So remember, the D major scale. D E, F sharp, G, a, B, C sharp, D, two Sharps, F-sharp and C sharp. Let's now do exactly the same notes, but start on B. So we don't have for the beat natural minor scale, B, C sharp, D, E, F sharp, G, a, B. And that's the B natural minor scale. Let's look at the next one. For that reason, I will bring up the cycle of fifths again, and we will look at G minor. Now, you see in this cycle of fifths, that's G minor, will have the same notes as the B flat major scale with two flats. So the B-flat major scale, I hope you'll remember. B flat, E flat, F, G, a, B-Flat. Two flats, B flat, E flat. Don't counsel, be flats 22 times. So let's start this same scale or the sodas, same notes, but Dan, starting on G. So G natural minor scale is B flat, E flat, F, G. Now the third and for now, last minor scale that we will do in this lecture is C minor scale to C natural minor scale. You can see in the cycle of fifth depths, it has the same notes as the E flat major scale. So let's look again as the E flat major scale. E-flat, F, G, a flat, B flat, C, D flat. So we do exactly the same notes, but now starting on C, which gives us that seat natural minor scale, C, D, E flat, F, G, a flat, B flat. C. At C flat minor has, as E-flat major, three flats. 122. Exercise: the minor scales: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 122. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 123. Some more minor chords: Okay, in this lecture we will do the three minor courts, soda, triads and seventh chords that are related to the three minor scales that we've seen in a former lecture. And we will do one more. Mayner court, as you know, the F-minor court. So let's start with the beat minor triads. And as you know, you can do that by taking the first, third, fifth of the scale, but you can also derive it from the major court. So that's actually the easiest method. So let's do that. We know that B major triads is B, D, and F sharp to D sharp is a major third. And if we lower debts by a half tone, we get a D. Then we have B minor triads. So B, D and F sharp minor, B minor triads in root position. This is the B minor triads in first inversion. And this has to be minor triads in second inversion. Let's do the b minor seventh chord. Well, the only thing we have to do is to add the minor seventh. Now, if we have d, try it, then you know that we can just take the whole note under the root. Here's the root again, and one whole note under root is the a. The a is the minor seventh in the scale of B. So this B, D, F sharp, a is the beat. Minor sevenths courts in root position. This is the first inversion, second inversion, and finally, third inversion. Let's move to the G minor triads. So we can take first G Major triad, which as we know is G, B, D. The third to major third is the B. When we lowered that by a half tone, we get B flat. So G, B flat, D is the G minor triads. And of course we can make inversions. This is root position. This is the first inversion. Second inversion. By adding the minor seventh, we get to the minor seventh chord. And the minor seventh is, if G is the roots down, you go whole tone loud, lower. So that's the F. So G, B flat, D, F is that G minor seventh chords. So this is root position. First inversion, second inversion, third inversion. Okay? The C minor triads. So the C major triad, CGI, we lowered the E major thirds by a half step to E flat, and C, E flat, G is the seat minor triads in root position. First inversion, second inversion. Let's add the minor seventh to make the seat minor seventh chords. Now, c is there, wrote a whole tone down, takes us to B flat. B flat is a minor seventh in the key of C. So C, E flat, G, B flat is the C minor seventh chords are in root position. First inversion, second inversion, third inversion. Okay, let's move to the F minor triad. So that's the only try it. The my audio only minor triads where we haven't seen to scale. We don't know the F minor scale, but of course we can very easily in the same way as we meet all the other minor triads and seventh chords, we can determine D, F minor courts, by the F-Major courts and by i. This is the F-Major chord, FAC. And by lowering the major thirds, which is the a to a flat, which is now the minor third, the a flat. We have the F minor triads in root position, F, a flat, C, first inversion, second inversion. We can of course also make D F minor seventh chords. The root is f. One holds ONE bead on or below the root. E-flat. E-flat minor seventh in the key of F and F, a flat, c, e flat is the F minor seventh chords. This is F minor seventh chords in root position. First inversion, second inversion, and finally, third inversion. 124. Exercise: the minor chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 124. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 125. Practice the new minor chords: In this lesson, you are going to practice with the minor courts. To do that. We will do that in a blues. Now. We cannot practice, of course, all the minor course one and the same blues. So I have in the Resources several blue, so in several minor keys so that you can practice them so that our minor blues forums. And I choose actually a very basic Minor Blues for which you can see here this plate. And you see that it contains one minor course to for minor chord and five minor court. By the way, very often in a Minor Blues, the five chord is a dominant seventh chords, but you could also take a minor seventh chord or a minor dry it, which we will do now in order to, to practice as many minor courts as possible. Now we have quite a lot of minor chords that we have to practice. And I will practice it in three different blues progressions in three different keys. And let me bring up the cycle of fifths for that. Because, you know, in the cycle of fifths, that if you go one step clockwise, so you have a fifth up and if you go one step, contract look plug Wise, who has a fourth up. So to find the 14 into five course, if you have somewhere to one court, you go clockwise to find five court and counterclockwise to find the four chord so that, for example, a blues in C, Likewise defies courts. You have G to C. Is that one of course? And counterclockwise you have the f. Now it is works also for to minor course. Of course, if you have a blues in a minor, then if face up, you have the E minor and a fourth op, You have to D minor. And as o to one to 45 are done. Minor, E minor, sorry, a minor, D minor and E minor 145. And that's already courts that we saw in ain't no sunshine. Then we will we will do one blues and a minor. Why do I again do a bruise and a minor? Because we've already done that in ain't no sunshine. Well, first of all, because we did it in a no sunshine, only the dry, it's not the seventh courts. That's one reason. And the second reason is that we did only the left-hand. It's nice to also know it with your right hand, of course. So that's one blues, blues and a minor. Then we will do a blues in C minor. And you'll see that the four CT is the F minor and d5 chord is G minor. So there we have all the three minor courts, C minor, F minor, and G minor that we can practice. And we will do one blues in E minor, because then we can practice a minor, E minor and B Minor. Now, I will only show you the a Minor Blues because the rest works exactly in the same way. So you can look up the chord progressions into resources. I have a file with all the blues progressions. So with that file and with the MP3 file, you can just play them in the same way as I will show you now with the minor blues. So what I will do, I will put in a while on the Play along file. So the a Minor Blues in 80 beats per minute. And I will play along, and I will do with the left-hand adjusted routes. And with the right hand, I will do the course. I will start with the first round, the try, it's in root position. Then in the second round of the blues, I will do the seventh courts in root position. And in the third round, I will do seventh courts in other positions. So in first, second, or third inversion, I do only the right-hand. You'd also do left-hand, of course, so that you practice also the left-hand. Okay, let's go. And okay, so you're going to try this also. And as I said, for the other two blues, one in C minor into one in E minor, E to exactly the same principle. Of course. You don't have to do the same thing as I do that. I do one round of traits, round of seventh chords in root position and done one round in other inversions. You can do three rounds to start with root position triads. Dan, you do another training session with only seventh courts, minor seventh chords in the root position, then you do another training session. So three rounds with all the other inversions. And now you do the same thing, of course, also with your left hand, then you cannot do the bass notes, of course, but okay. I wants to do one other exercise. If you want to do that also. You can do it. It's not necessary, but I think it's nice and to do it at all. So what I will do is I will play I will play it only one Brown's. Now to show you you did a principle. I will play several inversions, but I will do it in a rhythmic way. What I mean is I will not do 2341234, but I will play a little bit with the rhythm. Will sometimes play them on the beat, sometimes offbeat. Anyway, just have a look on how I do it and trade it also. If you want. There we go, et cetera. Now, I exaggerated a little bit, perhaps edit, but did it a little bit too much. But you get the principal and that's nice too. In this way. Also, try quick changes of the several inversions. You don't have to do only. Seventh chords can sometimes also do just try it. And then again, a seventh chords, you can mix everything as you want. Okay, that's it for now. And see you in the next lecture. 126. Diminished chords: I'd like to speak in this lesson about diminished courts. And like minor courts and major courts, you can also have diminished dry, it's diminished seventh chords. But before I tell what a diminished chord is, let's first have a look again at the intervals between denotes in minor courts and in major courts. And I will look at to try it snow. So I will do this for an hour in the key of C, But I could do it in any key, of course. But the principle is the same the whole time. So C-major, C and G, as we know, and C minor, C, E-flat, G. Let's look at the intervals. As I said, from C to E. It's a major third interval. And we also say that e is the major third in the key of C. I remind you that a major third interval is also from C to C sharp, D, E flat, E, That's for half-tones. Then always into C major. Dry it from E to G is a minor third interval. How can you see that? Well, first of all, it's three half-tones and from E one to three half-tones up and your g. But you can also say, well in the key of E, the G sharp would be a major third, so the G is a minor third. So again, in C major trial, this is a major third interval, and this is a minor third interval. Let's look in deceit minor triad, how bit is from C to E flat is a minor third, because E flat is a minor third in the key of C. You can also say, OK, from C, I go up 123 half-tones. From E flat to G is a major third. How can you see that? Well, into key of E-flat, G is a major third. But you could also say, okay, from E-flat, 1234 half-tones is a major third. So in C-Major, we have first major third interval and then a minor third interval. And in C minor we have first in minor third interval and done a major third interval. Now instead of sticking up major third and a minor third interval, or a minor third and a major third interval. I could also stick up, well, for example, to major third intervals from C IRF at E. But for E, a major third up takes me to G-sharp. I will dent have this court. We call this an augmented court. Or I could also, instead of two major third intervals, stick up to minor third intervals. So from C to E-flat, and from E-flat minor third up, well, let's go three half-tones up. 123, I arrive at. G flat or F sharp. This we call a diminished triad. The C diminished, dry it. Now about this note, I said F sharp or G flat. Well, in the key of C, I will call it G flat. Why? We'll look at it this way from C to E-flat. There's always one letter in between C, D, E flat, because it's the third note scene from C, And it's the minor third, C, D, E, 123. So from E, I go up another third, in this case a minor third. So I should have the letter e, f, g, something with G, in this case, G flat. So that's why it's a G flat and not an F sharp. This G flat is called the diminished fifth in the key of C. I will talk again about this diminished fifth when I will talk about intervals, and a little bit later on in the course. So in a diminished triad, we have the root, the miner, and a diminished fifth. And this is the C diminished dried it. Now let me, for example, try another diminished riot, for example. Well, let's say E diminished. From E, I go up a minor third, and I stick up another minor third on top of the G, while the minor third in the key of G is that B flat. So the E diminished triad would be G. B flat is the root, g to minor third, and B flat, the diminished fifth. Okay, one more example. Let me take the F sharp diminished triad. So from F sharp, I go up a minor third. Well, we don't know the F sharp major scale yet, so we don't know what the major third or the minor third is, but we just go up three half-tones, 123, and we arrive at a, from a, we go another minor third up. Now, as we know from a, a minor third up brings us to C. So this is the F sharp diminished triad. F sharp is the root eight, a minor third, C diminished fifth. Let's now look at the diminished seventh chord. Seventh chord. So we have to add this seventh. So what's the seventh? Well, we go on in the same way as we sat for to try it, we had to put two minor thirds on top of each other. Minor third, minor third. I will now again put a minor third on top of the F-sharp. That predicts me to a. And this is a C diminished seventh chord. C is the root. E flat is a minor. Third. G-flat. The diminished fifth and a, Yeah, what is that? You would say the sixth in the key of C because it's the six note, 123456. But this is a little bit especial note when I will apply the same rule as what I did before by saying from C, this is B flat and this is G flat instead of F sharp, because it's the fifth letter, C, D, E, F, G, 12345. The seventh should be the seventh letter after c. So that's b, 1234567. But it's not a B, it's a. That's why this note is actually not an a in this case. But, uh, be double flat. Well, that sounds very strange at B double flat. Why not just call it a? Well, for the reason that I just said, it's the seventh, because it's a C diminished seventh chord. And a seventh has to start with the letter B, because it's in the key of C. And the seventh note in the key of C is a B. Well, the only way I can do it is by calling this a, a b double flat. Look, this is the b. This would be B flat. Now I have to add an extra flats to go and other half tone down to this note. So that is why in C diminished seventh, this is a b double flat, and we call this note the diminished seventh in the key of C. So a C diminished seventh chord consists of the root, the minor third, a diminished fifth, hence the diminished seventh. There's more special about to diminished chords other than having a double flooded note. Let's look, for example, D, E flat, E diminished seventh chord. So from E-flat, minor third up to G flat and minor third up, well, we now know that it's a bead double flat and not an a. But when I go Now, a minor third up 123, I arrive at C. And again, I may not call this as c, in this case, y naught because this is a b double flat. And going up a minor third, something with a third means that I have to go three letters up. So when this is something from B, I have to go a, B, C, D. So note should be something with a D. Well, it's a D double flat. So E-flat, G-flat, B double flat. D double flat is the E-flat diminished seventh chord. But what is so special at the B-flat diminished seventh chord? Look again at the C diminished chord. And to take the lowest C an octave up. So I would have done the first inversion of the C diminished seventh chord. Well, this first inversion is exactly the same court as the E-flat diminished chord. Let's take it one step further. I will take this, well, let's call it E flats diminished seventh chord, or first inversion of the C diminished chords. It's the same. And let me go to this E-flat. Not one time. I wouldn't do we have this course? So this could be either the second inversion of the C diminished chord or the first inversion of the leaflets diminish court. But let's look at it from the point of view of G flats, or F sharp, I may call it now F-sharp. When I start on this note. In this case, when I will call it F sharp, then this is the root. This is the minor third. This is a diminished fifth. And another minor third up 123, takes me to this note. So this is the F sharp diminished chord, or the G flats diminished chord. And that's exactly the same as the first inversion of the leaflets diminished court, or to second inversion of this C diminished chord. I can go even one step further. I take this F sharp up an octave. I didn't have this court. So this would be eater. That third inversion of the C diminished seventh chord, or the second inversion of the E-flat diminished seventh chord, or the first inversion of the F sharp or G flat diminished seventh chord. So my first note might route is when I look at from the point of view of the a, the a is then the root. I have now the diminished seventh chord. Why? Because this is a minor third. This is a minor third as we know, and this is also a minor third, as we have seen before. So it's three minor thirds stacked on top of each other. So it's a diminished seventh chord. When I do the same trick again, a up, an operative, I have again the C diminished seventh court, which I will call now root position. So what does it mean? The C diminished seventh chord is exactly the same as the E-flat diminished seventh chord as the G-flat, F sharp, diminished seventh chord as the a diminished seventh chord. They're all the same. They're just inversions of each other. And this is really a very special characteristic of diminished seventh chords. Now, let me go back to, to see diminished seventh chord. And let me put all those notes of this court a half tone up. I didn't have this course. So actually, this is C sharp diminished seventh order D flats diminished seventh. When I do this same chase, so putting the lowest note bumps up, I now get E diminished seventh, which is exactly the same court as C sharp or D flat diminished seventh. Now put the E up an octave, and I get the G diminished seventh chord, which is again exactly the same court. One more time, the g And I get B-flat or a sharp diminished seventh chords. They're all the same courts. Ok, where were we? We went to the C-sharp minor seventh chord. Let me go up another half tone. So all the notes up a half tone. Takes me to the di diminished seventh chord. Let's take the d up an octave. I now have the F diminished seventh chord. Let me now take up an octave and I get the a flat or g sharp diminished seventh chord. Now this one up an octave. And I have the B diminished seventh chord. They're all the same courts. So from our starting point, now, the di diminished seventh chord, when I now go up half atone, E-flat diminished seventh. And that was from the whole series of diminished 7 seventh courts, where we started with C, E flat or D sharp diminished seventh sharp diminished seventh, or G-flat diminished seventh. Diminished seventh. So what does it actually mean? It means that there are only three different types of diminished seventh chords. This one starting on the C or E flat, or F sharp or a. This one's starting on C sharp or D flat. And this one, three different types of diminished seventh chord at 12 different types. So that's also a very special characteristic of diminished seventh chords are only three different diminished seventh chord. So again to resume, we make a diminished seventh chord by sticking up minor third intervals. So it's very easy for every node that you want. Just start on a node, for example, F will up a minor third, minor third, minor third, and you have the diminished seventh chord and you can start it on every other courts tone that you want. A flat diminished seventh chord, but it's also an F diminished seventh chord in first inversion. But you can use this as an F diminished seventh chord, for example, or days one or this one, et cetera. Okay, into next June, which is blue monk, we will use a diminished seventh chord. So see you in the next lecture. 127. Blue Monk - Introduction: This lesson is an introduction to the next blues, which we will do, which is blue monk. And in this lesson we will look at the courts, the courts structure to the sheet music. So let's start. And here is the sheet music as you see the courts. And you see that it's not very difficult to play, especially lefthand to only half notes and whole notes. And also the right hand is not very difficult, mainly eighth notes and some quarter notes and half notes. And that's all. Now in which key is blue monk? Well, that's MB Flint. And therefore we see in the key signature to flits, which belongs to the B-flat key signature. Now let's have a look at the courts. You see that there are mainly 145 courts, as you would expect in a normal blues. So to one chord is B flat seven, the four CT is E flat seven, and d5 court is F7. But there's one more courts that we haven't seen in a blues progression yet, and that's in measure six. There's an E diminished chord. Now of course we just did a diminished courts. So it's not very surprising that we see now a diminished chord. But let's have a look at the Roman numerals That's belong to those courts. First of all, it's a normal 12-bar blues progression. So here are the 12 bars displayed, and we have already the ones to force and put into the blues progression. Now, the first special thing that you can see is that it's a blues progression that we haven't seen before yet. Look in measure three, you see a 15 chord. The first two beats R21 court. The second two beats are five quarts. So within one measure, we have already to courts. This happens also in measure seven. Let's come back to this diminished ct equals, which Roman numeral can we give to this diminished chord? Well, look first in measure five, you see the E flat seventh chord, which is the four chord in the key of B flat. And let's then look in the next measure, which is diminished-diminished courts, which is an E diminished chord. Now, E is a half don't above E-flat. So what is it? It's not a forecourt. It's not a five chord. Well, since it's a half don't above the forecourt, we will call it the sharpened for CT. So we can write sharp and the Roman numeral for, since it's a diminished chord, we can write the symbol for it, a diminished court, so the little circle and a seven. So in Roman numerals, we would write this diminished court as sharp for diminished seventh. And here you see the whole blues progression for blue monk. In the next lesson, you will learn to left and the right-hand. So, see you in the next lesson. 128. Blue Monk - Left and Right Hand: So let's start to see how we can play blue monk. We will start with the left hand. Not what. Here's the first line. And you see very simple, as I've said before, only half notes. And it starts with a half note on the B flats. And done. The next two beats. Are the D is a flux. So what I, what I'm actually doing is playing the root, the third, and the minor seventh. So yeah, I played a court here. I don't play the fifth. Ok. But you don't always have to play all the notes of the courts. And I haven't son said this before, but that fifth is actually the least important node in a court, but I'll talk about that later. So yeah, I don't play the whole court. I played broken. Right. 1234. Okay, next measure, second measure. And there I play E-flat for two counts, two beats, G and D flat. And here I just play actually denotes of the E flat seventh chord because this is the root, the third and major third and this minor seventh, right? So 1234. So defers to measures are 12341234. Next measure, what I'm playing here is sorted. It's a B flat seventh chord for the first two measures, and I play the root and the seventh, minor seventh, I don't even play the third. So this is actually a court voicing gets quite often used, just roots and seventh. That's all. And yeah, you can say, Where's the third? Well, there's no third. There is actually a fifths in the right hand. You see that's the first know dare plates. And the third note isn't f, which is the fifth. Ok, so just route and seventh for the first two beats. And then I played 47th chord, also root seventh. So F E flats for the next 2B beats, so it's 1234. You have to make a little jump. So you might have to practice that so that you can play it without, without mistakes. Okay? The last measure is, again, exactly the same as the first measure, 1234. So the whole line would be 1234123412341234. Let's move to the next line. We start with the E flat seventh chords. So 1234, the same as the, as the first line, the second measure. So root, third seventh major third minor seventh. 1234. And then we have the the E diminished court. So I say, OK, I don't have all the notes of the diminished courts. Courts because that would be E, G, B flat, D flat. Yeah. Okay. First of all, you don't need all the notes. I said it before, so we miss actually to be flat. But when you look well, in the right hand, you see that the first note is a B flat. So you actually play the whole, all the four nodes of the E diminished chord. So the whole measure 1234. And then the third measure is again the same as the third measure of the first line. So I should count with it to four. And then the last measure, again, 1234. So I will play the whole line, 1234123412341234. Just one little remark. When going from the first measure to that second measure, you see it's very simple that the only thing you have to do is move your pinkie from the E flat to the E. Those two fingers play exactly the same notes, had a G and the D flat, stay where they are. Ok, let's move to the third line, where we play for the first two measures, the EFF course, the F seventh chords. Now, this looks a little bit strange because you see a whole note and the half note. So you would say, hey, hey, hey, wait a minute. A whole note is four beats in a half-note is two beats, so that makes six beats in afford quarter time signature where I only have four beats. How's that possible? Now, you see perhaps also that there is a half rest. So to make it even more confusing, there also would have rest at the same time that you play the whole note. So what is all this? Now? Actually you can say, okay, this is two lines that are played at the same time. The first line is just the F, which is for the whole measure four counts 1234. And the other language is played is two beats of rest and two beats C. So together with the FDA. So the two lines together are dead, 1234. And you see that I hold DFA for also. First there was nothing above the F and that's actually the the rest sign. And I'm playing the C together with the f. So yeah, you could say, why don't you just write then the f with a whole note at Dan DC with a half. A half note. Yes, because then you would have six beats in a measure that's not possible. So actually the rest, the rest at the same moment as that you play. It tells you that there are two lines, two voices going on at the same time. Where to first of all, it is, is simply four beats of f. And the second voice is two beats of rest and two beats of C. This is actually the only way of writing of writing this down. Because the F, You have to hold it, how you play it already before you play the C and you have to hold it while the sea place. And this is the only way to notate it in this way. Okay? Second measure is exactly the same as so, but 23 form. And that's it two times. So let's move to the last two measures, which is what we have seen already before, 12341234. So this whole line is 1234123412341234. The whole left-hand. One more time just to see the difference between the first two measures and the last two measures. In the first two measures, the first part is hold, while during the whole measure. Also while playing the second mode's played. It refers to measures. And the last two measures where we don't have those two lines, is two voices going on in the same measure. You'll see that it's first two beats of the first note and then two beats of the other nodes where the first note isn't played anymore as it, that's the difference. Ok, whole story. But I hope you understand well, it's not so difficult. So let's move to the right hand. So we start with very simply. First of all, it's important that you see this swing mentioned. So the eighth notes are S1. We have nothing to do that for the left-hand because there are no eighth notes. So what R denotes? So without a rhythm, Those are just denotes. This ascend a key signature, natural sign and NDF. So your rhythm is 1234. Will collect my head. 1234. You can clearly hear the swing rhythm. Second measure, Yes, same, same rhythm there. Those are denotes at G, G sharp, a B flat, and again 1234. Then next, two measures. This line is a plate in total, four times this lane in measure three. It's played in total four times. I will come later on this next line because there's something special with it at the end. So what R denotes F, G, F, E natural. Dan Beck made flattened, sorry. And then f low, F, C-Sharp, D. So what's deriv them? 1234. And then it's holds during the first half of beat one in the next measure, 1234 and so forth. Fingering, I would just do 454321. And you can do 45 or if you want 34, and it's also possible. But how do we count the other notes in that fourth measure? I will first play it, just listened and then I will explain it. So I play measure 34. And you hear that this, this, and this, all those three notes are on the upbeat. That's when my hand is up. So we have this d, which is hold from the end of four in measure three. So it's 412. And then 34. And so it's, let, let, let me just count with the old play both measures and I will count with it. 1234123. So always on the end, you'll play. So one so what is its? A last note is on the end of 4123123. And this first end that I said was of measure three. Let me play just one more time. Always when my hand is up. Let's move to the next lane. Rhythm is you had the whole time to say Matt, N1, N2, N3. For, in this case we have the nodes, which is the same as the second measure in the first line. So that's 123. For second measure. Those R denotes it's all chromatic. Always going up a half tone. And the rhythm is it's the same. 123 for the first two measures together are 12341234. And then in measure three, we have again the same line coming back as we did in line one. In this case. The last note is just hold for the first two counts in measure four. So it's actually simpler. So we have 12341232 during the three ends, tears arrests. We have triplets. So let so let me play just the whole two measures. Okay? Crypto lattes. And that's takes us to line for where we have 1234, f four is at rest. So when I come from this last, in the last measure, I think the best is to do it with your pinky. Actually, when I played the last line of the second line idea with finger for it, but it's better to play it with finger. Five-day You have all room to go to the low F and octave down. So I pay just a triplet from line two. And then going into the first measure of line 31234. And then we have again this line coming back 12341. In this case, the d is hold into the next measure, but during a hole, a cold quarter note. So it's 1234. And then we have the same line coming again. But in this case, the line is starting not on beat one, as we have seen before. In the first line, we have seen this little musical phrase starting on beat one in line two is always also started in on beat one. And also on this line in measure two, it stirred up on beat one. But when you played for the second time, this musical phrase starts on beat two. And sometimes that leads to confuse, confusion because you might have the feeling that, okay, this is again this musical phrase. So it started on one and then you start losing. The notion of where you are in the beat. And the best is. Of course, to keep on counting. And if you play the left hand with it, you see actually where you were. But another way of counting is also. So I play now this second, actually the third measure, but the second time this musical phrase is played in disliking. So it's 23341. So it is C-sharp is on the one. Just always keep that in mind that that's the one and not count for. The whole two last measures are 1234123434, end. Okay, you might have to play that several times. And as I said, is very important to say one at the moment that you play the C-sharp 1234. As long as you have that in your, during counting 1234, then everything will be in order and you will be at the right time back in measure one. In the next round that you play blue mug. Of course, you're going to practice it with the practice File. And I will first do the left hand and then show you the right-hand. So I start now with the left hands. And then next routes, et cetera. So let me now do the right-hand. Said, okay, you try it out yourself. And so again, watch out with the right hand that you practice. Well, there's last ln. This last line, it starts at beat 2234. And as long as you say 1234, then you're at the right moment to start a new line, okay, practice it well, in the next lesson, we will play both hands together. 129. Blue Monk - Both Hands together: Okay, are you ready? Let's play blue monk, both hands together that so there we go. It's very simple actually. So what I doing first boats exactly together, 1234. So try just that. 123 and on the three, you do this. One are together, add two, and then you have three. So we're not together. One, sorry. 234, and the same head. Then next measure has the same rhythm. 1234. Don't bake together. It's at 33. This is on the end of two, and this one is three. So the first two measures, okay? Then the next measure, the third measure. So It's actually not so very difficult to get to, and that's the first two beats. And then when you play, the 334 adds to that. And so, yeah, well, you see that does well. You pay the left hands, that B flat chord that's aligned with the F. And the left-hand side with CT is aligns with the B-flat than your read, write heads. So when you go to the fourth measure, I already played the first half of the beats of the fourth measure. Be sure that's 11234. Added one, this one. And this is on the one hand and on the end of one we have directly this one. So try it first till here. Sorry. So they're all at a different moment. And this is the first answer. That essay was the end of four of the third measure. So it's actually 41. Okay? And then you're actually also count to, well, you have this one and then on the and of two, you play the C. Yeah, so perhaps it's good to just practice dose from B to four in the third measure into the next measure. So that's For add R1 to add. I don't know the three. You have this bug. So tried it several times. 4123. And I do it one more time, 41234. Let me do the last two measures again. Let me play the whole line. There we go. Okay, next line. It's the same rhythm as that we had in the first two measures of the first line. 12343, are not like the same moment. Same thing in the second measure. 12323 for the first two measures together. And then measure three is exactly the same as measure three into first-line. So that's it starts exactly at the same moment also. Also. So when you go from measure 3-2, measure four, you have four. Adds, one. Adds one, because this one is on the one of measure. What is it for? Right? So it's I did already do rest of measure four. I will count with it. 124123. And I should do with my pinky Actually. Let me do it one more time. 124123 jet, but and then we go to line for line three, sorry, measure 1234. Measure to that's what we already know. I'll leave that to the left-hand is different. For bad. Sorry. Is 114. Try that several times. So the notes that you play in left-hand or difference than what you're used to. But to the timing is exactly the same, that one had 33 or you play the young CAL left heads and four. And one, you can say 1234 and yeah, and this is a bit have actually cross with your right hand, your left hand, but it's okay. Yeah. You're normally your left hand does not waive your right hand. So let me play those two measures again. So measure 231, I am sorry, I should hold my pinky to run at ten at at for an hour. Didn't play my left hand, but it was to show you measure 23. So let me play now. 23 and I will continue in measure 412341234234. Okay. Yeah. That's all. Again, be aware that this is last time that you played. It starts on beat 22341234, and then you start a new round. Let me show you one time going from I will play measure 234 and go to measure one of a new round. So you hear how the transition from at the end of one routes to the beginning of a new round is okay, there we go. So I start at measure 234, etcetera. Okay. So yeah, you have to practice that. Well, first try slowly, then speed it up as always. And if a part is difficult, then break it up in smaller pieces. Let me play it with the bends, et cetera. Ok, practice well. And I see you in the next lecture. 130. The Intervals we already know: So after a lot of practice, exercises as songs and stuff like that, we're now going to do some lessons of theory. Now of course, when you're doing the theory, don't forget to practice. So just do all the stuff that you've learned before. Just keep on practicing it. Okay, we're going to talk about intervals. So again, an interval is the distance between two notes to different notes at let me first quickly remind you which intervals that we've already seen. We started with the half tone, then we had to whole tone and a minor third, the major third, fourth, and the fifth, the minor seventh, the major seventh and the octave. So I can show you all those intervals on the keyboard, on a piano keyboard. And I will do this from the, from the node C. So from C to C sharp is a half tone. From C to D. Whole tone from C to E flat is a minor third. From C to a major third, from C to F, a fourth. And of course you can also look it up in the circle of fifths. You can see that when you go one step counterclockwise, you go from C to F. In that way, you can also see other intervals from other notes. From, for example, from less than say from B flat before thought leads you to E-flat, one step counterclockwise, okay, after the fourth, we have seen into fifths. So from C to G, also that you can of course see in the cycle of fifth, just go one step clockwise from C to G. Or for example, let me say from, from E to B. Okay? Then the next interval is the minor seventh. So from C to B flat, major sevenths from C to B, and the octave from C to C. And as I said, I know show it from C, But you can do it from any node. Of course, they're just look at the major scale and then you can see all the, all the intervals. So for example, when we take a major, you can see everything from a. A major is B, C-sharp, D, E, F-sharp, G-sharp. So a half tone would be from a to a sharp. A whole zone from a to B minor third, from a to C major third from a to C Sharp. A fourth for a to D. The fifth from a to E. Minor seventh, from a to G, a major seventh from a to G sharp. And an artist from a to a. Ok, so this is what we've seen till now. And in the next lesson, I will show you other intervals. 131. The other Intervals - I: So let's look at the other intervals. So the ones that we haven't seen yet. And to show you that, let me display a part of a piano keyboard. And as you see, I only display a little part of the keyboard totally up because I will need a lot of space below the keyboard. To start, I will look at the intervals from the notes C to the other notes into C major scale. So that means from C to D, other white notes on the keyboard. So we will first look at the intervals from C to D, to E, to F, to G, to a, to B, and to C, an octave up. And let me put the names of the intervals that we already know. So that's whole tone. Major third, fourth, fifth, major seventh, and octave. Now before you ask, hey, we also note a half tone to minor third and minor seventh. Yes, that's true, but as I said, we will only look to white keys now at we do all the other keys, all the other intervals that fall on the black keys. We do it a little bit later in this lesson. Now, there's one interval that's not filled in here, which is very simple. And that's the interval from the root to the sixth notes in the scale, and that's simply a sixth. Now, just to be sure that you understand, I talk about Notes and about intervals. An interval no, between the root and so between C and denote, for example, from C to E, We call it a major third. But I also called a note a Major third. So to ii in the key of C, I also call it a Major third. So I can call the interval a major thirds, but also denote a major third. And that's the case for all the intervals and the low notes. Now, the fourth, the fifth, and the octave are actually special intervals because we call them perfect intervals. So we say the perfect fourth, the perfect fifth, and the perfect octave. Now to be honest, I very often keep calling them simply fourth faith and doctors. So without perfect, but officially I shoot cold them. Perfect fourth, perfect fifths and perfect octave. So we see that we have major intervals, perfect intervals. So what about the whole tone and D6 them? Well, this six is actually a major sixth. So what about the whole tone? Well, the whole tone is actually an alternative name and the official name is second. In this case, the major second. And its logic that it's called the second because it's a second note in the scale, as is the case for third, fourth, fifth, et cetera also, Of course. So we've now completed the intervals between C and D, other notes of the C-Major scale. And they're all either major intervals or perfect intervals. Let's now have a look at the intervals between C and all the notes that fall on a black key. To do so, know that major intervals can become minor intervals. So for example, the major third, you know, we also have a minor third. So from C to E-flat in this diagram, the major seventh, we know there's also a minor seventh. So from c to b Flint, there was also a minor sixth. So that's of course, from C to a flat. And there is also a minor second, which is from C to D flat. And you see that we've had now all the black melts without the F sharp or G flat. So would it be a minor fifths? No. Major intervals can become minor intervals, but perfect intervals cannot become minor intervals. But perhaps you remember in the lessons of the diminished chord that we call this interval a diminished fifth. Now about Diminished intervals, I will not talk in this lesson. I will do that in the next lesson. Okay, so we've seen now all the intervals, only the interval from C to G flat. I will speak about that later as I said, but you can say, OK, we've now seen the intervals only from this note C, But you can have an interval from any node to any other node. So how to do that? Well, let me illustrate this from the note a. For example, you can first look in the a major scale and put all the intervals that you know. So that means from a to be a major second, from a to C sharp major third, from a to d. A perfect fourth. From a to E, a Perfect Fifth from a to F sharp, major sixth, from a to G sharp, a major seventh, and from a to a, an octave. After that, you do also the other notes that are not in the a major scale. So from a to B flat is a minor second from a to C, and minor third from a to F, and minor sixth from a to G, a minor seventh. And again, the one missing interval from a to E flat. We will see it in the next lesson. 132. The other Intervals - II: Till now we've seen death. There are major intervals, minor intervals and perfect intervals. But as you know, also diminished intervals exist. And perhaps you remember in the lesson about diminished chords that I shortly mentioned, augmented intervals. No. Perhaps you say, oh my god, all those different intervals and all those different names, it's getting too much, it's getting much too difficult. And therefore, I'd like to say, well, you don't have to know them all, but I still wanted to give you an overview of old intervals that exist and older names. So what we will do in this lesson is to make a nice overview in a table with all the intervals and holding all the names. And I will also tell you which intervals are important to remember. And that will be only a very few amount of intervals. So, so don't worry about the difficulty of old theory that we're doing now. Okay, so let's start. So as I said, we will make a table, and this table will have six columns. So I will draw the six columns here. In the first column, I will put an image of a piano keyboard with the notes. In the second column, I will put the number of tones, so to number of half-tones, whole tones, et cetera. Into third column, the names of the notes in the interval. And fourth column, I will put the name of the interval, whether it's a major and minor or a perfect interval. In the fifth column, I will put the name of the interval, whether it's diminished or augmented. And in the last column, I will put the alternative name of the interval. Okay, now we don't understand all those columns now it doesn't matter. You will see that during this lesson. Now, let's start to fill in the information into the columns. And I will start with the smallest interval. Now, the smallest interval we have seen till now was to half tone or a minor second. But I will start with an even smaller interval. Now how is that possible? Well, imagine that you could have even an interval with 0 half-tones. That means the interval of a note with itself. Now you can say, hey, but that's not an interval because there's no distance. Yeah, you can say that, but we call it also an interval. Just an interval of nothing of 0 whole towns to 0 half-tones, just 0. We call such an interval a unison. And like the fourth, the fifth, and the octave, it's an Perfect intervals, so it's a perfect unison. So let me start bit putting the image of the piano with the unison and the number of tones. The other columns, I will fill them in later, so I didn't name, et cetera. Now, as you see in the image, I've chosen to take the interval between denote c and c, which is 0 tones, of course, all the other images will always have the interval from c to d other note. So this table will contain intervals from the notes C. And of course it can make the translation to other nodes if needed. And you can use the technique that I showed you in the last lesson where I showed you how to do it from the note a and which you can apply to make intervals from any note. So on the second row, we will put the next image with the interval of a half tone. And I will continue in this way. So here's one tone, 1.5 tone, two tones, 2.5533 for 4.55556. So let's start to fill in the other columns. And I will start with the missing interval. So that was the interval from C to F sharp or from C to G flat. And since I can have two node names from C to F sharp or from C to G flat. I will split this rho into two rows, so differs. One will be from C to F sharp, and the second one from C to G flat. Now from the lesson about diminished courts, you know that the integral from C to G flat, that we call it a diminished fifth. Diminished fifths, because of fifths, is from C to G, and diminished because it's a half tone smaller. When we now look at the interval from C to F sharp, which is of course exactly the same interval. But we have another name for denote. Then you can say, yeah, it's an augmented fourth interval. Augmented fourth, because from C to F is a fourth and this interval is it half tone more, so an augmented fourth. So what can we fill in the fourth column, whether it's a major, minor or perfect interval. Well, we can't fill in anything because this interval is not a major interval, note a minor interval, and also not a perfect interval. So we leave it open. And the last column, the alternative name. Well, yes, we have an alternative name for it is interval. We call this interval also a tritone interval. Why is it a tritone interval? Well, look into second column. You see that the interval is three whole tones. Three tones is the same as dry tone, tri is three. So this integral is also called a tritone interval. Okay, let's fill in another interval and we go to the interval from c to a, which you find here. And as you know, we call this interval a major sixth interval. But perhaps you remember that in the lesson about diminished courts that we call this interval also it diminished seventh interval. But in that case, we didn't say a four note but be double flat. So let me also split up this row into first, the interval from c to a, and second, the interval from c to b, double flit. And when we talk about the interval from C to a, then as I said, we call it a major sixth. So that's going into column four. And for the interval from c to b double flat, we can fill into the fifth column, diminished seventh. Okay, let's fill in the next interval. Now. Before doing that, let me tell you. It turns out that every row can be split into two names, as we have seen before, with the major sixth and diminished seventh. And with the augmented fourth, entity, diminished fifth. Let us now look to the very first column, so 0 half-tones. And as I explained before, i may also split up this column into. And in the upper column, we will have the interval from C to C. And as I told you before, we call that the perfect unison. So what can I fill in the lower column? Well, you can make that the interval between c and d double flat. As you know, d double flit is of course, exactly the same note as C. Since d double flat is something with the letter D, which is the second note after C. It's a sort of seconds interval. What's kind of second interval? Well remembered at the interval from c to d flat was a minor second. So this must be a diminished second interval. Let's go to the image below. As always, we can also split up this column into two, where in the upper column we will put the interval between C and C Sharp and into lower column, the interval between C and D flit. Now, when it's the integral from C to D flat, we know that we call that a minor second. So what's the integral from C to C sharp cold? Well, it's half TO more than the perfect unison, so we will call that an augmented unison. And of course for this interval, we also know the alternative name, which is a half tone. Okay, in the image below, when we split the column into two, we can first mentioned integral from c to d as we're used to. And in the lower column, we can put the interval from c to e double Flint. Now from C to D, We know we call that a major second. So what's the interval from c to e double flit. Now we know that from C to E is a major third, from C to E flat is a minor third. So from c to eat double flat is a diminished third. And for this interval, we also know the alternative name. It's a whole tone. Okay, in this way, we can go on filling in all the names, in all the columns and all the rows. But that would take quite a lot of time. But the principle is the whole time the same. So what I will do is just fill it in for you now, here are all the names as you see. And just have a look at the resource file of this lecture, which is this same table, but then in PDF format so that you can have a look at it at your iss nt eventually printed out. Now as I said, I will tell you which intervals are important for us. So which intervals should you remember? Now to be honest, in the first image, so 0 half-tones determined Eunice, and I don't use it a lot. So you don't have to remember that one in the second and the third image. Actually, the only names that I use a lot are half-tones, ent, whole tone. So as we were already used to. So that's easy. Then below that, of course, the minor third and the major third are very important to remember. The perfect fourth is important, which I will mostly coal just forth, as I said before. The diminished fifth, the tritone, the Perfect Fifth, or just Fifth. The diminished seventh, minor seventh, and the major seventh, and of course, the octave. And now I hear you say, hey, but all those intervals that are just the intervals will already knew before we started all this theory. Yeah, it's true, but I think it's still important to you. So once we come to those names, diminished, augmented, et cetera. And it's to have an overview of all of those names also, because in the future when you see those terms, you know where they come from. But as I said, you don't have to remember to mole only the intervals that I just mentioned. And you can just use the PDF into resources for an overview into future if you need it. Oh yeah. One last thing. You see sometimes strange notes like see Flint, which is nothing else than a B, or B sharp, which is nothing else than a C. But why would I call them C flat or be sharp? Why would I use flit or sharp notes render just white keys on the piano. Now for now, you don't need to know why this is about those notes exist. And when we'll do later a, D, F sharp, and G flat major scales, you will see that they appear in the major scale. But as I said, don't worry too much about those nodes. So that's it for now. And see you in the next lecture. 133. Characteristics of Intervals - Inversions: In this lesson, I'd like to show you some special characteristic of intervals, and that's the inversion of an interval. Let me show you what I mean by an inversion of an interval. Let me take, for example, the interval from, let's say from C to F. A perfect fourth, as you know. Now the inversion of this interval is when I take the bottom note and put it at the top. I don't have the interval from F to C, which is a perfect fifth. Ok, can you see that? Well, c is the fifth note in the F major scale. So anyway, any version you make by taking an interval and placing the bottom note on top. So we see that the inversion of a perfect fourth is a perfect fit. You can also say that when I take two intervals that are each other's inversion, that they add up to an octave. Perfect fourth and perfect fifths are together an octave. Let's have a look at other pairs of intervals. Debts are together an octave, and so dat are inversions of each other. And I will start with the smallest interval, a half-term. But let me call it for now and minor seconds. When I take the bottom note, an octave up, I have a major seventh. How can I see that it's a major seventh? Well, the easiest way is when you take both notes over this interval half tone down, you have the same integral as the integral from c to b as, as you know, a major seventh. So a minor second and major seventh are inversions. The next one, a whole tone, but let me call it now, a major second goes together with a minor seventh. How can you see that this is a minor seventh? Well remember that the sea in the key of D was the minor seventh. The next one and minor third goes together with this interval. What does this interval? Well, what you don't see it directly. Let's go down in half-tones. Hey, That's a major six. So a minor third and a major sick are each other's inversions. The next one, a major third, has this as its inversion. What does this interval? Well, it's a minor sixth. Well, you can see it when you know the E Major Scale, of course, that this is the major sixth. So this must be the minor sixth. If you don't see it, go down in half-tones. And you see this is a minor sixth. So. Major third, minor six. Together, the perfect fourth and the perfect fifth. We saw it already a while ago. So the next one. Yes, it's not a minor or major interval and it's also not a perfect interval, as we know. It's either an augmented fourth or diminished fifth. But for now, let me call it a tritone, the alternative name. So what is the inverted interval? Well, it's also a tritone. How can you see that? Well, a tritone, as you know, is three whole tones. We know already that from C to F is one whole tone times three whole tones. Let's now go from F sharp to C. One whole tone to whole towns, three halters. So the inversion of a tritone is a tritone. And you see also that a tritone divide an octave exactly into equal parts. This is three times three tons, sorry, Holt. Oh, okay, I can go on of course, but you will see that we get exactly the same intervals with their inversions that we mentioned already. Because the next note would be a perfect fifth. But the inversion is a perfect fourth. And we saw already that the perfect fourth at the Perfect Fifth were each other's inversions. So a perfect fifth and the perfect fourth URL, so each other's inversion. If you don't see that this is a perfect fourth, well, c is the fourth note in a G major scale, so it must be a perfect forth. Well, you will see that when we check all the other notes, that you will get exactly the same intervals as that we got when we did all the notes till the tritone interval. Let me try one more to show you. For example, from C to B flat, which is, as you know, and minor seventh. Well, the inversion is a whole tone, or in this case I prefer to say a major seconds. Now, why is this important dose inversions of intervals? Well, it can be very handy because going up from one tone, assert an interval is the same thing as going down from a tone, the inversion of the interval. So for example, from C going up a fifth, a perfect fifth is the same thing as from seat going down a perfect fourth. And remember that you can see that also in the cycle of fifths, going one step clockwise is a fifths up. Going one step counterclockwise is a fifth down. But you can also say going one step up is a fourth down at going one step counterclockwise is a fourth up. So there you see clearly the inversions of the intervals, in this case, perfect fourth and perfect fifths. Remember also that when we were looking for the minor seventh, for example, the minor seventh in the key of C was to be flipped. We said, we can also go from the root a whole step or major seconds down to find domain or seventh. Anyway, we have now here a table with all the intervals with their inversions. And what do you see? You see that the inversion of a minor interval always is a major interval. And you also see that the inversion of a major interval is always a minor interval. The inversion of a perfect interval stays a perfect interval. 134. The 9th, 11th and 13th: So in the former lessons, we have learned about intervals and we've gotten from second OP, two octaves. Octave actually means h. Can we have more than that? Yeah, we could have ninth and even more than nine. Now, to show you that, I will look at a C Dominant Seventh Chord. And notice that the C dominant seventh chord is built of the root, or let me call it the one, the first, the third, the fifth seventh, major third, minor seventh. But let me just call it 1357. Now, this series of 1357, if I would continue that 1357, you would come to the number nine. Now, let me see how this court is built. This dominant seventh chords. I always go up a third, sometimes a major third. That's from one to the three. Sometimes a minor third from the faker to five. This is also a minor third. When I go now from 1357 to nine, I would come to the d. Now you can see y d, y naught, D flat, for example. Well, I take notes from the C major scale. Well, no a here we say, hey, this one to B flat is not from the C Major Scale. Yeah, that's true, but let me say that's the only exception. So did I can call that the ninth? Oh, you say wait, wait, wait, wait, wait. D We call it the second, the major second. Yes, that's true. But you can say this is the seconds, this interval, and this interval is a ninth. But let me now not so much talk about intervals, but more about denote itself. The note itself, I call the D into C major scale, then it rather to ninth. Why do well, just because we will later on add notes to seventh courts. And in that case, we go from the principle that we build a course of stacked thirds, 13579. And in that case, this is the ninth. By the way, you can hear how nice it sounds. Just nine, this edit, ninth to the dominant seventh chords. So when the d is that ninth, Can we go up even further by sticking up thirds? Yes. So when we stay in the key of C major, and this is the ninth, another third up would be EDF. Well from Lange We go to up, which takes us to 11. So this is the ninth, this is the 11th. And we can go another third up. And this is the 13th. Now you could ask yourself, well, okay, when we have the ninth, 1110 to 13, then why not add to the tenth and the 12th into 14th? Well, the tenth would be the E. But when he played a CT, E is already here. The 12th would be the G. Yeah. We already played here. And 14 would be the B flats. Well, officially of course the b, but since we have a dominant course, it would be a B flat. Yes. We play it already here. So that's why we take only 91113. Why not 15? Well, that would be the sea. And the sea was already our root. So the series stops at the number 13. So in the key of C, You could say that the dynein is the D, the 11th is f, and the 13th is the a. And we're going to use that in the next lesson to add notes to chords. 135. Adding the 9th to 7th chords: In this lecture, we're going to add the ninth to seventh chords. First to dominant seventh chord, and later also today to the minor seventh chord. Now into former lecture, I heard already to dominant seventh chords with the edit ninth. So it's perfectly possible to add the ninth. Dominant seventh chord sounds very nice. Now, you probably noticed already, Dad, I don't call this D-Major ninth or so. And distant minor ninth. Does, for example, the augmented ninth know where this is the ninth. I call this the flattened ninth. And this sharpened ninth. Very simple. So what I'm going to try is also to add the flattened ninth to the dominant seventh chord and the sharpest knife to the dominant seventh chord, C, How That sounds. So dominant seventh. And I will add the floods at night. So, well, you're not really used to this sound. It might sound a little bit harsh perhaps, but it's actually perfectly possible to add the flattened ninth to a Dominant Seventh Chord. Now, you could write Discord as C7 flat nine. Why do I haven't talked about this notation of the Edit ninth? So let me do that now. You could, can notate it as C89. But if you see the court symbol C-sections, you could actually normally add a ninth. Why? Well, because the ninth, the D isn't a key of C major. So you don't really make it a different court. Or you could also say You don't really alter the court. When adding the flooded ninth. You add a note that is not in a C major scale. You actually alter a little bit to court. So in-depth case, I would add it to the court symbols. So C7 flat nine. So the flattened ninth can be added to a dominant seventh chord. What about the sharp ninth? Well, let's try it. It's actually very nice sound. I find that it sounds nicer, an octave lower. Okay? So the sharpened knife can very well be add it to a dominant seventh chord. And you can call this court C7 sharp nine. So we can actually add three different ninth to a dominant seventh chord. The normal ninth, flattened ninth and sharpen ninth. So that was about to dominant seventh chord. Let's try to add the ninth to a minor seventh chord. Let me for now take the chord again here. This is the C minor seventh chord as you know, and I will add denied. And it, you see that it sounds very nice. Let me make one octave lower. So the Ninth can be added to a C minor sevenths court. You can call it the C minor ninth court, but you can also just call it the C minor seventh chords because again, the ninth is just indice scale, so you can just add it without altering really the court. So what about the fled at ninth and sharpened? Nice. Oh, let me try to add the flooded ninth to the C minor seventh chord. No, that doesn't sound nice. Let me try it an octave lower. No, it really doesn't sound ways. So that's why we don't add the flattened ninth to a minor seventh chord. Let's try this sharp at ninth. Weighted mediates the sharpen length. Well, that's actually just a minor third. So we didn't add any note actually. So yeah, it makes no sense to add a sharp knife. So I would say for a minor seventh chord, we can just add the ninth and that's it. Okay, in the next lesson, we're going to add the 11th. See you in the next lecture. 136. Adding the 11th to 7th chords: So after adding the ninth to dominant seventh, minor seventh chords, let's try to add the 11th. So we start with the dominant seventh chord. And I will add the 11th, which is df. No, doesn't really sound nice. Well, it's because of this interval from the F for the 2dF. This sounds very dissonant. So that's why this C dominant seventh with an 11th doesn't sound really well. So let's look at the floods 11 and the sharp 11. So I start with the flood 11. Well, when this is the 11th, This would be deflected 11th. But this is already to major third, which we already play here. So it makes no sense to flatten the 11th. So what about the sharpened 11th? That would be the F sharp. Yeah, that sounds better. Oh, played an octave lower. Nice sound. So the C7 sharp 11 sounds like this. And as you see to court symbol is C7 sharp 11. Let's try the same thing with minor seventh chord. So why we'll add the 11th to my minor seventh chord? This is minor sevenths, C minor seventh, and I add the 11th DF. Yeah, sounds okay. So what we couldn't add to a dominant seventh chord, we can add to a minor seventh chord. Also played an octave lower. Sorry. Very nice. So you could write this as C minor 11, for example. But on a normal minor seventh chords, you can easily add the 11th, even when it's not in the chord symbol because it's a note of the scale. Let's look at the sharp at the 11th. Okay, sounds perhaps a little bit harsh, but what I will do is take off is G. And I will actually take this F sharp as blade here. Yeah. Well, it's a possibility. Now, to be honest, in this court, we call don't call this quirkiness note a sharp at 11, but a flattened fifth, a diminished fifth, and discord is actually called the C half-diminished chord. And you have a special court symbol for debt. That's the chord symbol that you see now, but very often, you also see it as C minor seven flat five, which is actually a better notation because you see what happens. It's a minor seventh because you have a minor third and a minor seventh bought flattened fifth. So C half-diminished. And you can also understand why they call this Court has diminished, because the diminished chord was this one where this a, which was actually a b double flat, was the diminished seventh. In this case, we don't have a diminished seventh, but a minor seventh. So only the fifth is diminished and not the sevenths. So that's why they call it half-diminished. So what about the Flood and 11th? Let me play it again. The C minor seventh chords and to floods and 11th. Hey, but wait a minute. The flattened 11th is the major third. And honestly, you don't play a major third on a minor chord. So that's not an option. So on a C minor seventh chords, you can add it to the 11th. And that's it because the sharp at the 11th we have seen that's actually flattened fifth. And you would call them the court half-diminished and in-depth case. You put it played a fifth. So for now, I'll minor seventh chords. You can just add the 11th, and that's it. 137. Adding the 13th to 7th chords: Okay, it's time to try to add that 13th to dominant seventh, minor seventh chords. And I will try to start with the dominant seventh chord is my dominant seventh chord, and the 13th is the a. Yep. Sounds nice. And well again, played an octave lower. Nice and warm. So the 13th can be added to a dominant seventh chords. So let's look at the flattened 13th and sharpened 13th. So D floods and 13th would be the a flat. Now when you are not very used to the sound, might again, not signed totally right to you, but you can make it sound very nice. Let me, let me play it an octave lower. Sounds, actually very nice, very warm. So the flattened 13th can also be added to a Dominant Seventh Chord. Now what about the sharpened 13th? Well, the sharpen thirteenths, we never call it a sharpened 13th equals it's a minor seventh. We already had it in our court. So makes no sense to a dominant seventh chord, and we can just add either the 13th or the flattened 13th. Now when you add the 13th, kind of course, rights to court symbol C 13th. But since a is a normal court note, it doesn't alter the court. You can also, when you see csev is just add the a, the 13th to the court. When adding the flattened thirteenths. You could write C7 flat 13. Let's look at the minor seventh courts and let, lets add first the 13th. Yep. It's possible. Very often, when you add a 13th, you would leave out the minor seventh and you would play it an octave lower. So C minor, Yeah, we actually don't call it the 13th reminder courts. We call it just a sixth. And so for minor seventh chords, just for minor courts in general, we don't call it the 13th, but just a sixth, so it's an exception. So the C minor sixth, you would call this court. Well, is it's forbidden to play the minor seventh? No, it's not forbid. You can play to minor seventh. Paid an octave lower. So that's the C minor sixth. So what about the floods and six? Let's try. It. Doesn't sound very fantastic. Well, eventually you could add its button. It's very, very rarely done actually. So I will leave it out, the flattened sixth, at the sharpened sixth. Well, it's minor seventh as we saw already before. So makes no sense. So I would say for minor seventh chords, I would just add the sixth. So not just 13th in his case, in minor chords. You can add to the six and you can call the CT C minor sixth. 138. Adding both the 9th and 13th to dominant chords - I: So in the last lessons we have seen how to add dynein, elevenths, thirteenths, and even alterations of the ninth or tenth, 11th, 13th to dominant seventh and minor seventh chords. Now, is it possible to add more than one of those notes? Of course it is. So in this lesson, I will show you how to add the ninth, 13th at the same time. Now widen 9s and 13th and not the 11th. Well, first of all, I want to add the ninth and the 13th. So not alterations, but just core tone. So in a key of Sita would be to D and the a because their notes of the scale. So lots alterations, alteration is what we will do later. Why not the 11th? Well, we've seen that the F, the 11th doesn't sound well, dominant chords. And in this lesson I will only add the ninth and the 13th to dominance courts. So dominant seventh. So that's why not to do 11, but only the ninth and the 13th. So, well, let me take a C7 chord here, C, E, G, B flat, 1357. And I will add the ninth and the 13th. Yeah, very nice. So I can add them both together. Ok. It sounds nice, but also a little bit fooled, perhaps. There are many notes in it. What I will do is I will leave out some notes, and I will leave out some notes from my left hand. So which notes will I leave out? The first one is the fifth. Now why do face? Well, the fifth is not so important. Well, why is it not important? Well, look at the difference between the C minor chord, C minor seven and C Major seventh. You see did the only difference is the third. But if you look also at other courts, which we haven't done so much, but I have mentioned him shortly. See major seventh chords. There also to seven changes. So, which is the only notes that aren't always the same between C minor seven, C dominant seven, and C Major seventh. Well, the only notes that stay or two groups and the fifth. The fifth, as you see, is an old three courts. So it doesn't give any information of the quality of the courts. And with quality, I mean minor seventh, major seventh, dominant seventh. So we can just leave the fifths out. Now you say, of course, hey, wait a minute, but in a dummy diminished court, the face is a diminished fifth. So it does change. Yes, that's true. But diminished courts are not so often used. Most. A common are the other courts that I just mentioned. And especially of course, the minor seventh chords and dominant seventh chords. So that's why we leave the Fest out. Now, why not leave the root out? Because that one was almost always, also, always the same note. Well, you could leave the root out, and we will do that later in the so-called rootless voicing, voicings. But I will talk later in another lesson about that. Why is the root still a little bit more important than the fifth? Well imagined that we would only play the third and the seventh. And let me illustrate this now without a court, with the IIT seventh chords. So in the scale of E, what is the third and what's the seventh? The major third and a minor seventh in the key of E. This is the major third, and this is the minor seventh. So those two notes are the third and the seventh, minor third and major third minor seventh. But look at B-flat, B flat. The third is the d, and the minor seventh is the a flat. And a flat is of course, exactly the same note on the piano as the G sharp, which was the third for an E. And what would we see? It's exactly the same notes. So if I would play the third and the seventh in a dominance court, then that could be an E seventh chords. This would be the seventh and there's a third, or a B flat seventh chord. And this would be then the third and the seventh. That's a third of the B flat chord is the seventh of the seventh chord. And the seventh of the B flat seventh chord is the third of the IIT seventh chord. So we don't know which coin it is. So that's why the root is still a little bit important. This, now it's an E seventh chords, and now it's a B flat seventh chord. Okay, So long story, only to tell you that I will leave out the fifth. So I would have done, I come back to my C dominant seventh chord, root, third, major thirds minus F. And I can add the ninth at the 13th. Not sounds a little bit more. Ok? This is also called an open voicing. Why open? Because the nose are very spread out. I could of course, also, instead of taking the E and B flat here, why not take them here? Let me first play the ninth and the, and the 13th. And when I add the third and the Yom, Let me take to be flat here. And the Sabbath. Dan and I take CSTO here. Then I have this voicing here in the right-hand and the base note, the, the root in the left hands, but We call it a closed voicing. So that's the difference. This is open. This is closed. Now for an open voicing, you need both heads. Now, where do we need this open voicings for? Well, for example, you could accompany event. The band plays dimer, bass player, i don't know, saxophone player or a singer, et cetera. The band plays the blues progression and you accompany with courts. So this is a way of accompanying a band or a singer or whatever. Okay, so what are we going to do? First of all, let me show you our voicing, which is very simple. I just take the D an octave up. Also play it like this, of course. Okay. Voicing that I can play for the C7 with added ninth, 13th. Of course, we're going to practice it and we're going to practice it with the blues. But for the blues, I also needs to fourth and d5 cornered. So in a blues in C, We will start with the blues and see, I will show you this same thing for the F and the G chord. So let's start with F. And I will play, play first root, major third, minor seventh, and we will add the ninth and the 13th. So what's the ninth in the key of F? It's always a whole tone up from the root node. The root is f, So this is the ninth. They hadn't nice is of course, the same as the second says, you know, what's the 13th? Well, the 13th, of course, it's the same note as the sixth note in a major scale. I could also say sixth, but officially in, in this context, it's called a 13th. So what's the sixth note in the F major scale? 1-2-3, 4-5-6, that's the d. So G and D are the ninth and the 13th. So this is my voicing for the F dominant seventh chord. And of course I can also take the G up. Same thing for G. So routes, major third, minor seventh. Dan, the ninth is of course, one up from the one Holton up from the root is the root. This is one, halt on up. So this is the ninth. What's the 13th? As I said, the 13th is the sixth. It's the same. So in the G major scale, 123456, That's the e. So I will add ninth, 13th, the a and the e to what we had before. And this is my new G7 voicing with added ninth and thirteenths. And of course I can also take the a up. And then I have this voicing. So you're going to practice it. This voicings with the band. So I will put on the band and what I will do is first play the simple voicings, C and F. And for the g, i will of course, take this voicing and you can alter it yourself with the other voicings. As I showed you before. I will just play them for beats long pair measure. And I have this blues progression, C, F, C, C, F, F, C, C, G, F, C, G. As if it's 141144115415. Let's go the new route, et cetera. Okay. Now, when you have practice debt, well, it would be nice to also played a little bit more rhythmic, rhythmically or rhythmic way to make it a little bit more interesting because this is of course not interesting at all, just to play it on beat one and keep it for the whole measure. Now, of course, this is not a lesson about rhythm. Later when I will talk in adolescence about accompanying, et cetera, I will talk a little bit more about rhythm, but just, we could start already, of course, just to make this a little bit more interesting, what you could do, for example, to start with, is to do 1234234 and so on. And then the end of two, I will do a little bit slower and do and sorry, 1234234 ends. And it can make it even a little bit more interesting by doing short long, for example, 1234234, sorry, 234234. And you can also do short long, of course, why not 124 and y naught? So let me just quickly show you that also. And also you make, you make a little variation. Short, long, long, short, long, short. There we go. And a new round, etcetera. Ok, so you practice that also. And I see you in the next lecture. 139. Adding both the 9th and 13th to dominant chords - II: So in the last lecture, we actually have learned this new chord voicings with had his ninth, 13th on three different dominant seventh chords on the C dominant seven, F dominant 700, and G dominant seven. But we know already nine dominant seventh chord psi because we had nine major skills. So, yeah, of course you want to know how to play this also on the other dominant seventh chord. So that's what we're going to do in this lecture. And I will start on the left side of the C, I mean on the cycle of fifths. So on the flat side, and we will start with a blues MB flat. So that means that the 1245 CT will be to be fled the E-flat than the f. Of course, the F we have seen already. So with the blues in B flat, we have two new courts, B flat and E flat seventh with at its ninth, 13th. After the bruising B flats. I will show you also the other courts. And you will find into resources also D Blues and an E blues so that you can practice also the other courts, I will not show for every blues how it works. I will only show the B flat blues, the other blue. So in D and E, you can figure out yourself how it works. Say it's always the same, of course, of course I will show you the courts. So let's start with B flat. So I will show you the B flat seventh chord with added ninth and thirteenths and the E-Flat. So to foreign courts in a B flat blues, E flat seventh chord with edits, ninth, 13th. So to start with B flats, I will, I will leave the fifth, fifth outer, as we did in the last lecture. So B flat, the third and the seventh minor seventh is the a flat. And yeah, what's the ninth? Well, as we know, the ninth is the same as the second note. This is evokes or the second note is a C. What's the 13th? Well, let's look at the B flat major scale. And the 13th is also to sixth, 123456. So the G is the sixth. So 96, that's the C and the G. So we have root third, seventh, ninth, 13th. So this would be our B flat seventh voicings voicing with adult 9-13. Now, I have to say that this thing, yeah, there are many notes on the low side and they're even quite close to gather this B flats and D. And together with the a flats mix, it's a little bit of a muddy sounds perhaps. Now of course, this depends. On the piano you have, or the keyboard sounds that you choose on your keyboard. Perhaps it sounds fine. I think there's still quite acceptable on my keyboard. But if you want to make it a little bit less muddy, what you could do is leave, leave the d out here, put it here. Doesn't have this voicing. And if I were to play this with my right hand, I have only the root with my left hand. And this voicing is actually a very often used CT voicing for it be flat court. But it's a rootless voicing because you don't play the roots. But as I said, I will talk in another video about rootless chord voicings. But at least, you know, this is very often chord voicing for to be flat. So, okay, so I will take this again with my left hand root seven. What I will also do is take this C up to open it up even a little bit more, because this is a very closed voicing, and this is much more opened up. So the B flat voicing is a little bit different than the other voicings just to not let it seemed too muddy. So this is the B-flat voicing with added ninth at 13. Let's look at E-Flat. So we go to E flat is the root, the third and the seventh. I hope you remember. Major third, minor seventh. And we are going to add the ninth, which is one tone up from the root. So that's the F and the 13th. Well, that's the sixth, 123456. So that's a way to quickly see where. Where to sixth ordinates 13th S When you already have the ninth. It's just a fifth, a perfect fifth up. And because you know that the fifth note in the scale of F is the C. So this integral is a fifth. So from f, o shifts up. Then you see very quickly when you have the ninth, what the 13th is. So this is our core advising for the E flat seventh chords with added ninth 30. Then of course, we already know what we have done in the last lecture. So we have this one, B flat, this one for E-flat, and this one for f, F7. So let me play the blues and what I will do is I will play this rhythmic version, 342. And I will play long, short, but you can do your own version of course. So let me put on that bent. Here. It is. And then the year-round, et cetera. Okay, so you can practice and also if the rhythm is too difficult, you just do 234, 234, etcetera. Okay, that's up to you how you want to do it. So let's quickly look at the other courts that we have to do that we're on the right side of the cycle of fifth. So for a blues in D, we have, of course, D is the one chord, G is the four chord, and a is that five chord. So lets look at D. So root, third, fifth, seventh, and we all know it. Let's look at the ninth. So when this is one, then this is 22 is nine. And yeah, as I said, we can go a fifth up from E to find that 13th. So this is our seventh voicing with added ninth 13th for and also, as always, you can also work. In First Amendment. I didn't tell this with, with the B flat blues, but of course, you can inverse it. Where are we? Oh yeah, the G seventh chords. We did it already with the C major, C major blues. But let me quickly show it again. Third, seventh, and the ninth. At the 13th. This was g, G7, okay, the A7 court. So root, seventh, ninth, 13th. So you can find the 13th by saying, okay, it's a fifth up from the ninth. But you could also say, okay, I go in the a major scale and I look for the sixth note in the a major scale, 12345. So this is the sixth or the 13th. Okay, so that's it for the blues in D. For the blues in E, you will need e, a, and B, know a, we already saw it. So I will do E and B, E seventh and B7. So for E seventh root, third seventh from E, a whole tone up gives us the ninth. And the 13th is then this one, because it's a fifth up from F sharp, but you can also do 123456, of course. So what did I say? This is our seventh chord voicing with edit ninth at 13th. Last score, w0 seventh chord. So we could eventually started here, see if this doesn't sound too muddy. So that's 137 major third, minor seventh. Then this is, of course, when this is the root and this is the ninth and the fifth up from C-sharp, E, G-sharp, or 1-2-3, 4-5-6. And this is our B seventh chord with added ninth 13th thing, it doesn't sound too muddy. When we compare it with the B-flat. Starts on, It sounds at least on this piano, a little bit muddy still. Okay. But well, it's already better at the sea, of course already. Okay. Okay, so that's it. You will find in the resources, of course, that play along file for the blues in B flats, blues in D, Blues in E. And you will also find the chord voicings that are used. And you will find that blues progressions for those three blues and practice well, by the way, if you say, okay, for now it's enough for the blues in C and perhaps also in B-flat. I don't want to go on with D and E also, okay, yeah, you can go to the next lecture and just skip that and come back to that later. Okay, see you next lecture. 140. Adding notes to minor 7th chords: So we, in the last lecture, had been speaking about adding combined notes to dominant seventh chords. Let's look at a minor seventh chords. And we know that on minor seventh chords, there's a C minor seventh chords. We can add the ninth, 11th, 13th. Why not add them all together? So 91113 altogether at its students see minor seventh chord. It's a possibility you can do that. Perhaps it sounds a little bit better here. Yeah, perhaps a little bit fool, but yeah, it's acceptable. Could of course also leave the fifths out. Must be giant here. It's a nice sound. Why not? It's also nice to play only the ninth 11th with dominance, with a minor seventh chord, I should say. So. Yeah, let me play this in other way. I play another voicing. We see, see how nice this sounds. I actually doing here, I play a very open sounds. Just root fifth. So I played a fifth, No, I don't leave it out. Here's my ninth. Here's the minor third, minor seventh, and minor third and minor sevenths are needed in my minor seventh chords, and here is the 11th. So actually, beneath the root minor third, minor seventh, and the fifth, my only added notes, our ninth, 11th. Beautiful sound. It's also possible to play a similar salt in this way, but you need big hands because you would play the root and the minor third, like this. So, so, so you need really big hands, perhaps it's still possible for you. And if case doesn't matter, you use one of the other voicings. And here they did those notes. So it says the 11th, minor seventh and the ninth. So it's again beneath the normal notes of the chord. Root might've seventh, minor third, and minor sevenths, just ninth, 11th. The way here we can see this court is just so root minor thirds. You play with your left hand and right hand. You play, actually, be flipped. Try it in second inversion, C, this is B flat. Try it. First inversion, second inversion, but let me play it here. Just B flat triad in secondary version. So the way to play it is play the root and a minor seventh and then play the major, Try it one whole tone below the root in seconds. Inversion. Wonderful tone below the root. B flat as so if you want to do it for other court, let's say g root minor seventh. One whole tone below the root will be loaded. G is F, So the F major chord, but it sounds nicest in second inversion. This is the second inversion. Of course, it can also play other inversions are days. When I think this 1 second inversion sounds that nicest. Ok, but it's also possible to just add one note. For example, the ninth is very often added. So you could of course play this as I showed you before. And very often you would then in your left hand is play just the route. And in your right hand, this voicing without a root. So this is, this would be a nice rootless chord voicing for the C minor seventh chords. But when we rearrange it a little bit and make it a little closer voicing. You would have this one with the bass note with the roots. In my left hand. Side is also very nice. What do I have? Of course, minor third and minor sevenths. I played the fifth and the ninth, so it's just an edit. Ninth. So why do I now play the fifth, yada fifths? I said I wouldn't pay the fifth. Well, I never said that it's forbidden to play the fifth. You may play the fifth, of course. So in this case, in this voicing, I play the fifth also. So that's also a nice chord voicing for the minor court. I want to come back. This is a little extra if you you don't really need this theory now if you want to skip it, you can skip it. But look, when I do this, I stick up only third, third, third, third, third. They're all on the scale. Well, perhaps not this one, because look at the C minor scale is within a flood. But actually I play this scale, every note of the scale. Because if I take this DFA and put it here, c, which note I play? I actually play this scope. The minor, the a natural minor scale only whatnot within a flat button with an a. Now, this scale is called the C Dorian scale, and it actually has exactly the same notes as the B-flat major scope. Look. This is B flat, and this is C Dorian. The same flip nodes, B flat and B flat. I only tell you this to say that the Dorian scale is very often used by especially jazz musicians to improvise over a minor seventh chord, just for you to know. But as I said, you can skip this if you want. So as you see, you can also add ninths, elevenths, thirteenths together. All minor courts are a combination of them. You can create amazing sounds. You can even create your own minor seventh chord voicing. Just experiment a little bit with it. I showed you, of course, the C minor seventh chord, but you can do it on any root. So for example, let me quickly show you the D minor seventh chord voicing the same as that I used for C. But now on D. Beautiful. So again, root, fifth, ninth, minor third, minor seventh, 11th. By the way, a way to easily remember this chord voicing is, look, this is a fifth up from D to a. From a to E is a fifth up. So in the left-hand fifth, fifth, but in the right-hand, it's the same thing. It's also fifth, fifth, you only start a half tone above your thumb of your left hand. Last note of your left hand. This is a fifth. And this is a fifth. So if you want to start it on any other node, for example, I want my a minor voicing. Garber Fifth. Start with your right-hand half tone above your thump, thump, go up a fifth. Got a fifth. This is your a minor seventh chord voicing. Okay? As I said, experiment a little bit yourself and you can make your own chord voicings and see you in the next lecture. 141. Rootless chord voicings: I've mentioned them already several times in former lectures. Rootless chord voicings. So as the name suggests, a rootless chord voicing is a chord voicing without the root. It's as simple as that. But why would you need rootless chord voicings? And why wouldn't you play the root? Let me first start with this last question. Why not play the root? Well, if you play in a band, for example, the bass player will normally play the route, at least at the first beat of the measure normally. So in that case, you don't need to play the root. And the other example is, for example, you play in a band and you want to play solo. Solo normally, you do it with your right hand? Not always, but normally, Yes. So what do you do with your left hand? Well, you accompany yourself while playing the solo in your right hand. You can do that with rootless voicing. So for example. So that's, that's one example. Or another example. You play the root with your left hand while playing rootless chord voicings with your right hand. So for example, this would be C. I'll talk about this rootless chords voicing that I played with my right hand later. See? So nutcase, you play the root but with your left hand, but in the right hand you play a cordless, rootless chord voicing. Or you play, for example, left-hand baseline, like this for example. So there are plenty of reasons why you would want to play rootless chord voicings. And actually, rootless chord voicings are much more plate than voicings with the root. So let's just dive into it and I will start with a C rootless CTE courses deceased seventh rootless chord voicing. And I will add the nine, 10-13, say all those rootless voicings that I will show you in this lesson, our dominant seventh chord voicings with ninth, 13th. So I will start with what we already know from the seed seventh with add its ninth, 13th. This is C7, 13. And I will just bring up the 0s here. And I will play this note with my right hand, my left hand. I'm left with the root. In right hand with my rootless chord voicing, I will take away my left hand now so we see only the rootless chord voicing for the C7 chord. Okay, so I think I showed this already in a former lecture. But now officially, so what is it? It's seventh, minor seventh, ninth, major third, 13th. This is one way of playing this C7 chord voicing. You could eventually take these two nodes here, the E, a, so the major third 13th, an octave down, play them here. And those are the two notes that we leave in place. So this is the other one. Major third, 13th, minor seventh, ninth. So we have two possible policies. If you find this too now. Here. Of course you can pay it anywhere. You can play it wherever, wherever you want. Of course, this is too much. That's too long. Okay, so those are the two chord voicings for seat dominant seventh chord with added ninth, 13th. Let's look at some other courts. I will not do them all now here, I will put them into resources. You can, you can, you, you will find an overview of all the dominant seventh chord voicings for the nine major scales that we know. Let's go to, for example, the F seventh chord. So let's first quickly, let's look to see what we did. So it was minor seventh, ninth, third, 13th. So we start with the F on the minor seventh. Yes, the minor seventh, ninth, major third, 13th. So this is the F chord voicing. It's a bit low, but I think this is still acceptable. Okay, when taking up to all those nodes, the E flat, F, G up, I get this chord voicing 40 F seventh chords. So that's a major third, 13th, minor seventh, ninth. The g. So I start with the first forum that's so from seed, from G minor seventh, ninth, third, major third, 13th. And when I take up the two lower ones, I can get this voicing. So major third, minor seventh, ninth. Okay, let me do one more. It's one that we've seen in the last lecture. I showed you this voicing for the B flat seventh chord. So, yeah, B-flat minor seventh. This is the ninth. This is the major third, and this is the 13th. So very often used chord voicing for the B-flat. Take those two nodes up. And I have this voicing. So that's major third, minor seventh, ninth. Okay? Of course, it's important to practice them well. And as always, you can practice them with the rules. And what I will do is show you now how this goes in a blues in C major. But I will also produce a blues in B-flat major, in D major and an E major so that you can practice all the course that we do in this lesson. Yet the R&D resources. So let me show you for to see the blues and see how to do it. And what I will do is I will play the rhythmic version, so too short. You can eventually play the root with your left hand if you want. You can also do whatever you want. So let me put it on. There we go. Okay, so that was one round. And of course I played the ones that start as lowest note with the minor seventh. But you can also start with the version that starts on the major third as R. Then you would have for C this, for f, E would have this one, and for g would have this one. So try that also. By the way, if you found that the voices were a bit too low, depending on the sound of your piano. Keyboard sound, then of course, tickets up an octave, for example. So that's about the right hand. Now, I would do also your left hand. As I said, it's very important that you know how to play the left-hand courts because it's important when you are going to solo with your right hand. So do this exercise also with your left hand. You can do just your left hand and then leave out your right hand. But you could also eventually play the root with your right hand. And you could do it K two times root two with an octave difference, for example, etc.. So that's a possibility. You could eventually also make mixes of different inversions of the, of the courts. What I mean with the inversion is in this case, here, I take the minor seventh has lowest note. And then in this case, for f, I take the major third as lowest note. You see it's much easier to do this. So from here to here, and from here to here. And then for the g, you can take this one and then you're back on C. And it takes much less, much less movement of your hand to go from one corner to the other. Okay, so try that. And I see you in next lecture. 142. Adding altered notes - The altered chord: Until now we've only added notes that are in the courts. So for the dominant seventh chord was to nine at a 13th, and minor chords, we even added the 11th, okay, I show it here in the key of C. We haven't talked yet about adding altered notes. So the key of C, That would be to flat nine sharp nine sharp 11, and flip 13. So the black keys. Okay, I didn't mention this big black key because it's the minor seventh, of course. So, yeah, let's try to do that in this lesson. Adding altered notes. And i will now only speak of dominant chords adding altered notes to dominance courts. And I will start with this sharp nine. Let me make a C Dominant seventh chords. And I asked the sharp nine. Very nice sounds very often used in blues and rock and just music. Now, of course, I can make it a rootless chord voicing and please DO play those notes. And I can, of course then played a route in my left hand. Very nice courts. And we call this so to C7 sharp nine cores. We can also add the flat nine, so that's the D flat in the key of C. So this would be C7 flat nine. Now, very often with the flat nine, we add also to 13th. And you could eventually leave the e out here and play it here. And this is also a very Night Court, nice chord voicing for a C7 flat nine courts. Look what I actually have. I have routes and seventh minor seventh in the left-hand. And I have actually in a dry it, a major triads in first inversion in the right side. I don't need to play this first inversion. I can also play second inversion or root position, but I think this one's sound. Sounds nicest. C7, flat nine. Okay, yeah, we can also add the sharp 11 bucks. Well, It's less frequently, DOM. So let me first go to the flat 13. But to flip 13, it's very often combined with other altered notes, actually. And that's where I wanted to speak also over in this lesson, in the altered chord, which is based on the altered scale. Let me quickly show you the altered scale. You don't need to know the altered scale. That's going to fire for now. But the altered scale is a scale with all the black notes I just Quickly show it to you so that you know what I'm speaking, but you don't have to remember days. So all the black keys in the key of C, this one is already the minor seventh of course, but flat nine sharp, nine sharp 11, flat 13 are all in it. Also, normally, of course, the root as logic and the major third. So I have this scale. Okay? You don't have to know what you can forget it directly. What is important is that you know that it contains all the alterations possible. Because all the alterations are possible are flat nine sharp nine sharp 11, flat 13. The court, based on it, has also all those alterations and is therefore called the altered CT. Now, if I would play all the alterations, so C dominant seventh chord, and then all the alterations. Flat nine sharp, nine sharp 11 flat 13. Sounds way to fool, of course. So we normally, when we play an altered court in this case, see altered. We don't play all the alterations. So you can make a combination of alterations and very often used combination is that where you add the sharp nine and a flat 13. So you don't play flat nine and the sharp 11, just a sharp mind and a floods from 13 and it sounds as follows. So that sounds much nicer than to full court when you would add all the alterations. Okay. Now, let me put those note. This one I will leave, I will put this one, the a flats deflect 131 octave lower. And I will play only to route with my left hand at the other nodes with my right hand. This is a very often used chord voicing for C altered court. So what do I have? I will take off my left-hand now so that you have just to do rootless chord voicing for to see altered chords. Major thirds, flat, 13, minor seventh, sharp, mine. And I could eventually take those two nodes an octave. Then I have also to see altered chord. So minor seventh sharp, nine, major third, E flat 13. So those are two voicings for the seat. Seventh altered court. Okay, this is all concerning the courts based on C. So what have we seen? We have seen the seven sharp nine. At the oldest court. You see that the only difference is this notes. Let 13 that I add. So you can go very quickly from one to the other. And so when I take here the flat 13 of, and then take this as a C7 sharp nine chord voicing. Not so nice, I would prefer this. Okay? And we've seen also DM, C7 flat nine quarts ISO DIS case. This is not a rootless chord voicing, but I could make rootless chord voicing very easily just by playing the right-hand notes. Okay? I'd like to see some other courts. And I will now go to the B flat seventh chord and we have seen chord voicing for that. So this is with just add, it's ninth 13. So it is no alterations at all, at all. But remembered at some lessons ago, I said that the seventh and the third for the B-flat, or the third and the seventh for e. Let me just play this chord voicing, but done with an e and debase. Hey, what do I have now? Well, so as seen from the E, This is the major third. This is the seventh. So what are those two here? Well, let's have a look. So that's the C and the G in the key of E. Well, 123456. Well, it's a flattened six. Well, we call that flattened 13. So this is the flat 13th. And what does the G? Well, 123, Hey, flattened three is minor third. No, remember that's all on a dominant chord. You can not have a minor third. Let's just quickly see how it does. It would be in the key of C, Then the minor third would be DIFS, this. But we call that the sharp ninth, so that G In the key of e is just a sharp nine. So what do we have? Apart from the major third? Minor seventh, we have a flat 13 and a sharp nine. Hey, that was our altered CT. Now this is interesting because the court voicing for B flat, which had six, and sorry, a ninth 13th, is when we use the exact same court voicing in our right hand, is when we place an E in the bass. So that's our roots now, then it's suddenly an altered chord. Okay, do we have more of those pairs where it's 9-13 and for the other one, it's it's an altered courts. Yes. Let's look at how the 0s and the B-flat are related to each other. How far are they from each other? Well, let's see. One whole tone. To whole towns. Three whole tones. Hey, that's a tritone. So if the roots are a tritone away, then the normal seventh chords, and with normal, I mean, in this case with added 9 13th, but they are not altered notes. That's why I call it a normal seventh chord, is for the root, a tritone away, an altered chord. Now, now you see also why I didn't explain this for the case of C, because tritone away would be F-Sharp, G flat, and that's port at a scale we haven't seen yet. So that's why I showed it on the B flats and the E. Okay, so which one can we do? Well, for example, leaflets, and they're also a tritone away. 123 hotels and tritone. So let's try to find courts voicings for DOS to. So E-flat. What was a good chord voicing for an E-flat with at its 13th ninth. Well, we've seen that in the former lecture, one of the former lectures. I didn't show it to you. I didn't show you on the keyboards, but it's in the Resource Files. But let me quickly do it down here. So E flat. The third, the seventh, the ninth, and the 13. So that would be when we start the seventh. And that would be this as a rootless chord voicing. So this is for efflux with adults, 13th at night when I now play the root, a tritone away. So the a, I have a altered court. Major, third, minor sevenths. So what are the F and the C In the key of a? Well, let's have a look. 1-2-3, 4-5-6, flattened. So that's the flat 13. And the C. Well, it's a minor third up from a, but we don't call it a minor third, but a sharp nine. So this is the flat 13 and these sharp nine, and this is a chord voicing for altered. Of course you could take those two an octave down and you have this chord voicing for OK, I can understand that this is all a lot, a lot, a lot of information. And if you cannot remember, that's just now like this. So this lesson is more to have an idea how altered courts and other alterations add its two dominant seventh chords are done. And when we're coming to a blues weirdos courts are used. You will practice with them and you will then get more used to it. For now, I just put into resources and overview of the types of courts we've seen now. And I will show you all the inversions and altered courts. Seven sharp nine courts, which we're going to use quite a lot. And you will see that all into resource files. So just have a look at it. You can try someone that piano if you want. But you don't for now, have to learn by heart how they all look, how they all art plate. We will do that once we get to a blues where we play those courts. See you in the next lecture. 143. Comping - Introduction: Welcome in this new section where I will be speaking about comping. But what does comping actually mean? Well, comping is actually short for accompanying, so accompanying others or eventually yourself. Let me explain what you play. For example, in a bend, you might, for example, accompany a solo player, a saxophone player, or a guitar player. And you accompany to solo player with courts played in a rhythmic way. Or for example, you accompany a singer. This can be a singer in a band or just you playing the piano together with a singer. Or you can see yourself. You accompany yourself on the piano. And we've seen already an example of comping behind a singer. When we did Blueberry Hill, we didn't play any metal the line, what we were doing was actually just dumping behind the singer. And you could also, in a bad situation, accompany yourself while you're soloing. In that case, you would come with courts in your left hand and with your right hand, you play a solo. And I've shown you already an example of this in the last section. And another example which I also showed you in the last lecture was when you play, for example, a baseline in your left hand and come with courts and your right hand. So there are plenty of situations in which you can come in which way shoot, you come. Well, of course we will see that in the next lessons. But when I would explain this very shortly, I would say, well, comping is actually playing courts in a rhythmic way. So in the next lectures, we will see how to do this. 144. Comping I - basic 7th chord comping: So let's start comping. We actually did already beforehand these B flat blues where we did this short 234 and et cetera. So you have been comping already a little bit. So we will do a little bit the same thing now, but we will do a blues in C, in C Major, and I will start with some two-hand rootless voicings. So we'll start with a normal secret with ad, it's nice. And 13th, I said. You could use this one. Root, third, fifth, seventh, ninth, 13th. We have seen already a rootless chord voicing, which was this one or this one. But let me build on this one now. What I will do is actually only use in the left-hand third seventh. And I will do this for all the chords. So third, seventh. And I will do this 13th at night. So this will be art. See seventh chords, 40 F seventh chords. I will take also into left-hand seventh third, that they're very close to each other. So don't tell me, I don't have to make it big movements in deceit voicing. I have that third on the, at the bottom and the F7 voicing, I will have to sever that deposit because they are very close to each other. Okay, so and for the Ford a G I will afford the FAI will put into right-hand ninth, 13th. So this will be our seventh chord. So we go from C to F, And you see, I chose those voicing so that you have to move very little with your right and your left hands. See only do. You'll hardly move your hands. So C seven, F7, they'll need the G7. And also here, I will take seventh third in the left-hand and right-hand, ninth, 13th. As f, from G to F. Everything a whole tone lower, and I'm back to c. So that's the courts that we will use as a first exercise. You could just, with the play along file, just practice dose courts at what I will do is now just use the rhythm 12341234. And then I sort of read them we've seen before 12 and so on the one and on the end of two. But if you want to just practice the courts, you can also, for the first time, just play 12341234 as you want. But I will start with the 1234. And so on the one hand onto the end of two, there we go. New route, etcetera. Ok, so you understand the exercise s. So as I said, you can first do it just on the one and the whole measure, and then later come back to this rhythm. So that's the first step, just to practice simple rootless voicings into hands. 145. Comping II - Adding Rhythm I: So after this first basic comping exercise, you might think to yourself, okay, it's not, it's nice, but it's not really sounding very interesting yet. And you're right. Because we did a whole time to same rhythm. We do it the whole time to seeing courts, simple courts. So we will change the rhythm and the courts, but in this lesson, we'll concentrate only on the rhythm and later in following lessons we will do to courts. So let's see, we did the whole time. Your rhythm, 234 and so, yeah, how can we change that? Well, the first step is that we will anticipate some courts by an eighth note. So that means that we will start a court actually on the end of four of the forum or measure. So for example, I play first my normal 234234 and, and, and the same thing, 3434. But then on the end of what I could already start my next court, I did it now on the third measure, but it can do it on any measure where I want. So let me, I will play this F-measure, so to second measure and I will go to the next measure. Let me hear you what I mean. So I do 234234. And so you see that I started on the end of four and I started to C7 chord on the end of four of the F-measure. I will do it slow, a little bit slower, but 234234 and alright, so I start on the end of four. I can do that anywhere where I like. Let me play it together with the band and I will throw in this anticipation. It just some measures. 3434343434343, 234, etcetera. Okay. Yeah. So I hope that you are hurt or some places I anticipate it's the next court. So in the former measure on the end of four, so drained it also and yeah, it doesn't matter exactly where you do it, but try it on some places and see if you can manage to do that. And I counted you don't have to count a count out loud as I did. You can count in your head, but be sure that you can anticipate the court. 146. Comping III - Adding Rhythm II: Now after anticipating the next courts on the end of four former measure, we can add a lot of other arithmetic elements. Of course, you can play the court on any other moment into measure. This can be on a downbeat, but there can also be an upbeat. So you have actually eight possibilities, 1234 and, and you can try them all out. Of course. One rhythmic element that I like a lot is the one that we did in the last lecture. So where you start and next court where you anticipate index score on court on the end of four, but where you precede on the end of three of that measure, declared in that measure. So you have, for example, 234. So on the end of three, I still play the app. And on the end of four, anticipate the next court. I will do it very slowly one more time. And 23 and etc. so that's also a nice one to practice. Let me quickly show you I will not do a whole round just a little bit with the play along file. Here we go. 234, right, so that's also a possibility. So try that also. You can make a training session with that, but it's not all the rhythmic elements we can add. We can add so many rhythmic elements. And I think the best thing to do now is just, I just show you how I play along with the play along track and show you some rhythmic elements. Now just listen and look at trying to do a little bit the same sort of things. So let's try that, et cetera. Ok, so try different rhythms to try different things. And you will find a way that sounds best to you. What is very important is that you're not comping to busily. So for example, this will give you an example. This would be far too much. Well, et cetera. I think you get the point. So use it wisely. Not too much, leave some space. You can sometimes also just play nothing. Also possible. And then when you play with his solo player, listen well to the solo player. It could, for example, leaved a solo player, play his solo little musical phrase, for example, don't do anything when he finishes his phrase. Then you give some courts and then he starts again. I don't mean to say that you may not play that when the soloist plays, but do it wisely. You can use the gaps that the soloist leaves to do your thing. Okay, that's it for now. And in the next lesson we're going to speak about some other chord voicings that you can use. 147. Comping IV - Chord voicing variations: So now I showed you how to add rhythm to your comping, but we've used a whole time to same courts. So let's try to make some other variations, some other court voicings. Of course, you have seen already some possibilities in the former section. But there were mainly rootless chord voicings and not really for two hands. So let's leave, let's look what we can do. So till now we have done in the left-hand major third, minor seventh, and in the right-hand ninth, 13th. We can play them in a whole other way. Why not? For example, take the left hand and your left hand rootless chord, forcing that we learned so far to see that would be this one or this one. But let me now take this one and into right-hand. What we could do is when we take out the d left hand, I can take it in my right hand and I will bring in actually did note that we first took out. So the fifth and we route. Why not? You can play them. Listen, how nice. This is a very nice court voicing for a dominant seventh chord. So let's see, it's very much user by the way. Let's see how it's built. So we start with our left hand. So at the bottom we have the minor seventh, and then we have the major third, the 13th, denying the fifth and the root. Well, that's one way to look at it. Another way to look at it is just take in your left hand first, minor seventh, and major third. And from that highest note, which is the major third, go in fourth up. So a forth from e is a, fourth from a is d, forth from d is g, and a fourth from g is c. So those intervals are all perfect fourth intervals. Now, perhaps you don't directly see, hey, yeah, from a, what is a perfect fourth up? That's a D. Perfect. Perhaps you don't see it directly, but the more you get used to it, I had to more debt you pray for example, your scales. The more you know which one is the fourth note, the easier your see how to build such a court. Okay, so this is for C-sections. When we make the same court for f that we start on the minor seventh and the major thirds, and then we go up in thirds, sorry, enforced. So two D to G to C and 2f. The same court in f. When we do it in G. So again, we started on the minor seventh and a major third done, we go up in fourth, fourth up, up, up, up. And this is our forcing for G seventh. So for now you could, for example, just to a training session with the play along file with Those three courts, right? So I will quickly show you and then we'll go on with other possible voicing. So here we are, et cetera. I did it in a rhythmic way when it's too difficult to do. And the rhythm and those new, new courts then just due on the 12343434 or due to this one by two. And I should do, I should say, to do what or whatever rhythm you want. By the way, when going from the G to the f would be very nice to do this. See what I did. And so I went I'd take everything the whole time, a half step down. Okay, this also another embellishment that you can make. Okay. Other court voicings that you could eventually use. And I'm still talking about normal seventh chord without alterations. You could, with this verse and I take the same left-hand voicing, just play for example, root, fifth, root. And you would do that on a seventh on the, the course, then you would have this one. But you could also do this. And then go to the seventh chords and to not too much move your both hands, you could do this intrusion of the afterwards and then changed this g just in an F. And there you have c, f, c, So you have fifth root fifth. See how little you move your hands. So I did our basic rhythm that we did in the beginning, one end to end. But you can do the rhythm that you want, of course. And let me, oh, I forget the g. So when you are here with your c and here for f, You could do the g, for example. Here. You take everything, whole tone up. So then if you don't have to move your hands, but let me just quickly show you and let me for now, just do the basic rhythm. It's about the courts now, etc. Okay, I took the version short, long instead of short, but you can do whatever you want, of course. Okay, instead of taking this here, I can also take it here. For example, when you want to build it up, when you first blade is here, and the first round in the next round, you can play it here. You have so many variations. Variations are endless. And of course, in one round, you don't always have to have exactly the same kind of voicing. For example, if I do the whole time this, and in the next round, I do, for example, let me say this. No, I don't have, I can mix. I can have in one round when I start for example, my blues, I could do my and slightly build it up. And then after that I do. And I can even do in one measure, I can do. What did I do here? I did hear fifth, root fifth. I don't have to do the whole round, the whole blues progression. Same thing. I can vary as much as I want, even within one measure. And try those things out and come up with what you think. Sounds nice. Okay, see you in the next lecture. 148. Comping V - Chromatic Chord Shifting: I'd like to show you some other nice embellishment that you can make in your comping and which is called chromatic chord shifting. And what I mean by that is that you precede a court, by the court a half don't above and you do that just in the measure before that course that court occurs. So for example, when you have a c ct. Well, let me take a voicing it. You can do it with any voicing that you take, but let me take this voicing. And I will take now the fifth RPA. So g, g, This is a C Dominant seventh issue is, you know, and I will actually take this d here. And I have a nice three tone voicing in the left-hand edge. Actually. We will also use that more often, especially when we're going to improvise just three Court three tone voice or you see that I have the seventh, the third, minor seventh, major third, and just the third gene, so I have no ninth. Well, I have it now in my right hand, but if I would solo with my right hand, I wouldn't not, would not have the ninth. So for now, I also have the fifth. And so chromatic chord shifting. What I would do is actually imagine we're going to measure with a court with C7, then you could pre-seed that's court with the court a hafta and above. So that's all the notes in your left hand, n in your right hand, or half a tone above. So what is it? Yeah, well, when this is done, this is seven, and this is a D flat seven. Of course we haven't seen D-flat yet, but we haven't seen the the scale. We haven't seen the courts. Well, a little bit. In the last section, we have seen a little bit some chord voicings for even courts that you don't know. But it's logic that when I shift everything a half tone up that I have just the court have torn up. So when this is C7, this is D flat seven, or you can call it C sharp seven button. I will call it D flat seven. And, and so what you're doing actually is in the measure just before this c, I will, I will play this chord on the forum on beat four. And on the end of four, play already this C seventh. We've seen that before. When we, in the timing lessons that I said, you can precede the court, you can anticipate the court by the end of four. So that stays. But on the four itself, you take half tone up. So it's 123412341. So you have another core type. Now, let's say we have F. Let me take this voice and for F, we had first this one. And what I want. A three note voicing. And we can, for example, take root fifth, root, root, root, fifth root. So I have done, I will do it very slowly. 12341234. Or for example, when I come from the sea and I go to the F. So I have to precede the F chord with a court a half tone above. So I said I would take this F seventh voicing, but you can take any voicing, of course, for F7 that we have learned. So a half tone up. Well, so what is this ct. Well, it's G flat seventh. And again, we haven't seen G-flat yet. But of course, you take everything I have to own up. Yeah. Well, you have the court have done APA when this is F7 and this is G flat seven. So when we come from c, this was our C chord voicing. Looked at the voicing in your left hand. Just one note difference. Sorry, f, x or the average, the G flat to G flat voicing is only one node, so different from the sea voicing in your left hand? And what is the difference in the right-hand? Well, you just take it one, everything 1.5 step down, and then I can go to the F. So what do we have? We have then been 2341234, right? So there we went from the way we've gone from the F to the sea, from the C2 3f, let's go from g, from C to G. So we have what court where we do for G. I will take exactly the same thing at the right hand as for a C7 chord. I didn't left-hand. We'll take this three note chord voicing. Remember buffers have IS1, but I'll take the ninth out and I'm left with the 13th besides the seventh. Sorry, this is the 13th. So between beneath the seventh and the third, I'm left with the 13th. And here I just have root, fifth root. So let's take this voicing. So what is everything you have heard up? That's the if this so that's a flat wow. Another court we haven't seen. But again, it's just everything, a half tone APA. So 1234. So coming from the sea, for example, we are in a sea voicing 1231234. When you go from G to F, You can of course also do it. So we came to, from G, from this one. And then you can go right out. And we have another F chord voicing. First. We have this voicing, and are we this voicing? We have length. Sorry, third, seventh, ninth. And it does voice. We have 73rd, 13th, right? So I have three note voicings, either the ninth or the 13th, but not both together. You can play them both together. And Tab is voicing, but that's perhaps a little bit full, but of course you may. So let's try that to do that in the blues progression that we have that we're working on the whole time in this section. Now, you shouldn't overdo it. I will, I will do it three or four times in the whole blues progression. And just have a look as well where I do it. Of course you can do it in other places. It's as you want. But listen well and try to feel where it's good. Sound nice. There we go, et cetera. Okay, so I just did some random rhythm. You can do something totally else. Of course, you can do this. Shifting, this chromatic court shifting on other places where you want. But it's a nice embellishments. So see you in the next lecture. 149. Comping VI - Adding Alterations: Till now we have only used normal seventh courts, so without alterations. But imagine we have the following chord progression and you see two times an altered courts. So in the fourth measure, a, C altered court, and in the last major you have G altered chord. So let me see how you can also make voicings with altered courts in your two hands. To start with this, see what you could do. Of course, yeah, we had first are voicing for the older court, which was this one row with the flattened 13th and to sharpen ninth. But you know that in an altered court, you could eventually also have a sharp 11 or a pleasant knife. Now, how could I do that? Now, I will show you one nice voicing for C altered court. Actually it's a combination of voicings that make together the C altered cores. Once you could do is in your left hand to just take major third, minor seventh. And in your left and your right hand. Look what you can do. You can play those chords. Now, what is all this? Let me first explain you. This is of course the sharp nine and is the flat 13. So this would already be a great voicing for, for a C altered chord, which you could normally use her like this or you can take it like this. Yes. You're you have several variations. But if you want to bring in also your flat nine, sharp 11, you could do those two voices here. Now I have flat nine sharp 110, of course. Normally they the flat seventh, minor seventh. I double it. But I can't. Why not? What I'm actually doing. So apart from the major third and a minor seventh, what are those two courts? Well, those aren't courts that we haven't seen yet. But let me take this 1.5 step up. So all the three nodes, and I haven't a tray it in first inversion. So when I take one down, it's actually an, a flat trades in first inversion. Now we don't even have to have done this theory for the a flats to show that this isn't a flat. Dry it in first inversion. What does this? Well, take it also up, half tone, all the nodes. A, it's a gendre ads. In second inversion. So what is this? It's an F sharp, dry it, if this is a G, That is an F sharp or G flats, but I call it now F sharp because this is my sharp 11 flat five. So what I'm actually doing is taking in the left-hand major, third, minor seventh. I can, in one courts make some rhythmic variation or something like that in one court. And I outline in this way the C altered court. So that's one possibility or one of the other possibilities that I just mentioned. This or whatever you want. The last chord, D, G, altered courts. So what we do dare? And we've seen that this is a nice heartless root voicing for energy altered chord. You could also take this one, but let me take this one. So what do you do with your right hand? You could, for example, take G to G an octave apart. Don't play the fifth year, because indeed altered chord is no fifth. This is not good. So you do it like this, for example. So I will play in a while, this chord progression. Let me first before I do, quickly say what other voicing I can, voicings I can take for the, let's say normal courts. For c I could, for example, this is my known left had voicing for a seat seventh chord and I just take fifth root. And you could also do this or whatever you want. You can. This is what I've seen in a former lecture, but so this for example, then I go, go, then I can go easily to the F chord. This was a left-hand voicing for the F chord that we know. In the right-hand edge, just take root fifth. And so, for example, ad for the G. Yeah, well, I can do everything JSON does in my left hand. I can this in my right hand or des. Okay. Let me just play it and just have a look. I will make a combination of all those voicings. And of course, look especially at the measures where the sea altered court and at G, altered chords are, let's go, et cetera. You saw also that in the last bar, I did this. I go into the first bar of a new round. Why not? You can do is what? This note is also in the, in the oldest Corta. Now, the next question arises. Can i only play an altered court when it's in a chord progression? Or can I just choose to have it unaltered court? Well, actually, you can choose to have an altered chord even if it's not written, especially where you got a fifth down. So from the fourth to the fifth measure, we're going from C to F. It's a fifth down. Or the last measure from G7 to a new route, back to the first measure, C6. C7 is also a fifth down, especially at those places, you could add simply an altered chord. Or eventually, why not seven sharp nine chord, F or G? That would be or why not seven B9 chord, seven flat nine Court? That would be, well, we have seen this court voicing for C. You could eventually when you play it with two hands, you could take it up. Let me see. For example, do I have all the nodes and also the a in it? Like this because otherwise I doubled E And that's not so nice in this case. For example, like this, it could be a C7 flat nine voicing. So you can experiment a little bit with that. But when you choose to add alterations to courts, be aware that it's not always possible. It should not clash with the melody, for example, or a clash with the solo player. Now of course, you don't know what the solo player is playing. So that's very difficult. And in jam sessions, yes, sometimes it's Glacier says sometimes mistakes are made. But okay. So I would say you can use alterations, but listen well, if it's possible. 150. Comping VII - Other keys: Now this comping till now, I've done it only in a blues in C major. How's it with all the other blues in other keys? Now I'll, well will not show you every key how to do it because the principles are always the same. So what I will do is just show you how to form courts for now in the B flat major blues. But of course, you can do it yourself for the other two blues in them. In the resources you will find a B flat blues, a D Blues, and an E blues. And with those three blues progressions, you can, you can do all the nine dominant seventh courts that we have seen till now. So as I said, I will show you what the courts that you need for the B flat blues, how you can find those courts and you can yourself with the same principles, find out how it, how it is for the d blues and D blues. So I start with the B flat seventh chord. So R, one court in a B flat major blues. And of course we have seen already some voicings when we first did this company in the last section. You have root, Major third, seventh, and then you can add, of course, your, your, your ninth wears a tear and cure 13th. This is a nice voicing for a B flat seventh chord, but you could do whatever you want. We have seen this voicing for a. B says B-flat seven. You can add Dan root fifth, root, fifth, root fifth. Also a possibility. You can make the court voicing that we did here. I show again for in the key of C, if you remember which one, I mean, one with seventh on the bottom. Then the third and going up in forth. So let's do the same thing, but then in B-flat, So we start on the seventh. Minor seventh would go to the third and then go up in forth. So from D to G to C to F and B flat. Very nice. Court voicing for B flat seventh. Well, let me do this for E-flat also. So foregrounding E-flat, we had a court voicing, like this was the major third, minor seventh. Then we had the knife into 13th. So you could combine that with low, again, root, fifth root, or a fifth root fifth. Let me do this one. So from minor to major third, and I'm going up. Fourth, fourth, fourth, fourth bit low. Let me do that a little bit higher. And so minor seventh, major thirds going up in here, it sounds better. But perhaps at your, on your instrument, an octave lower words, I don't know it. You have to try that out. Then. F we've seen all the courts already, so I don't have to show you that. Oh, yes. Some some altered course if you want to make also alterations, I would do first the normal courts, so the ones without alterations and then you can add alterations. Okay, so on the B flats with alterations, this one would be the B flat. All that courts. We saw it already in the, in the last section. So what could you play with it? You could play, wrote Roots and no fifth, as I told you. But you could also, what could you do? Nine or seven major third. And we will add some alterations in our right-hand. So let's add a sharp ninth. So that's this one. And add flats, sorry, that's this one. And a flat 13th. So the 13th, 123456. So flat 13 is here. So that would be, this would be chord voicing or take the F sharp one down. E-flat. Okay, we had, this was normal E-flat. E-flat altered. You can find this voicing also in the last section in the PDF that I made for you, in the resources to play E flat on top as a voicing. Ok, now, you understand you can create your own voicings by just building it up from at least major third, minor seventh. Those are always needed, of course, in your voicing. And then add forded, let's call it normal voicings in 9134 altered voicing C, you can add the sharp nine, the flip 13, of course. Or you take left hand voicing that you already know. Cordless, rootless chord voicing Did you already know has offered B-Flat, for example. And you add, you eventually with a fifth. And this is a normal B flat seventh chord with added 9-13. In this way, you can build every courts that you want. And you can, in this way, a company on every blues that you want. So that's it for camping. And I'll see you in the next lecture. 151. The Pentatonic Scale: So we're finally going to make a start with improvising on the blues progression. And an often used scale is dependent atomic scale and also the blues scale. But we will see that in a next lecture. And we will start with the pentatonic scale in the key of C. And I will do under pentatonic scales and other keys later, but we will start with C. And we have actually two pentatonic scale, them scales that major pentatonic scale and the minor pentatonic scale. And the major pentatonic scale is built on the first. I will do it in C, first, second, third, fifth, and sixth note of the scale. You see that it's a 1-2-3-4-5, five notes scale, not more. That's why it's called pentatonic because penta means five in Greek. So dependent on x scale, the major pentatonic scale, 12356 of the major scale. That being said, the Minor Pentatonic scales is actually used more. So what's the minor pentatonic scale? Well, the minor pentatonic scale is based on the major pentatonic scale, like the minor, the natural minor scale is based on the major skill. Perhaps you remember that the natural minor scale. You can find the natural minor scale when you go down a third from a major scale. And I remember we had the C major scale. And then the a minor scale. We went with the root minor third down and we play exactly the same notes, but then a, and that gave us the a minor scale. Well, here it's exactly the same. The C major pentatonic scale is exactly the same scale as the a minor pentatonic scale. So when I take those exact notes from C major pentatonic scale, but I started them on a, I then get those notes. And that's the a minor pentatonic scale. So that's very simple. Now, I said we would do the scales in c. So what I, actually, what I'm actually looking for is the C Minor Pentatonic Scale, because that scale I'm going to use for the blues in C. So, where is the C minor pentatonic skills coming from, from which major pentatonic scale? Well, from C go a minor third up, which brings you to E-Flat. So I have to look at the E-flat major pentatonic scale first to know what's the notes of the C minor pentatonic scale are. So well. Remember the E flat major scale. So I will have to take the first, second, third, fifth, sixth notes of that, of that major scale, of that E-flat major scale to get the E-flat major pentatonic scale. This is the E-flat major pentatonic scale. So I will now start on C, but use exactly the same notes, right then have C, E flat, F, G, B flat. And I can take the highs c. Of course, when you say pentatonic scale, you think of five nodes, 12345. You don't, you don't count the sea because he already had it in your head. So don't count it twice. A major scale has seven notes, even when you say 12345678, because the eighth note is the same as the first note. So a normal major pendants, major scale, or a minor scale, has seven notes and a pentatonic scale, whether it's major or minor, has only five notes. So you have to really remember this scale, the C minor pentatonic scale, C, E flat, F, G, B flat. You can go on a next octave. You have to memorize that. And you have to not only memorize it in your head, but also in your fingers, so you're going to practice it. And of course, it's nice just to practice it with some play along track. And that will be art blues progression. And that's the blues progression we use already a whole time. Also for the comping section, we use the same blues progression. So let me show you how you can practice on this. On the Bruce br. Court provision and a new route, et cetera. So what are you actually doing? You see that you go up just till the F and then you go from the sea just next to the f. And you go down till the Ji Dan, you're starting on the sea. And back on the sea. In this way, you go on one whole route or order even three ruffled rounds of the blues progression that is in the play along track. When you have memorized it's scale, you can try to play it a little bit quicker. And I would then do 12341234 at 12341234. So exactly the same notes. You go up from C to reach this F, and you go down from this see, till you reach this g. Let me show you new routes, et cetera. So when you can play that, I think that's enough. But if he wants to have a little challenge than you could even play it in triplets. So you see that I play something else than what I played before. I go up till I reach this E flat, and then I go down till I reach this B flats. So let me show you what I mean and perhaps I should explain a little bit more. You count J-Pal Lab, J-Pal Lab or 123. Let me show you the new route. Okay. So this last exercise, if you don't want to do it also, okay. But yeah, why not? It's nice if you can play it also quicker. Now, you hear that the notes of the pentatonic scale sound well or over all the three chords of the blues progression on the one chord, four chord, five chord. And that's very special. The blues scale, which we will do in the next lesson. You could also use it on the three courts. So that's why we only need the C Minor Pentatonic Scale and desc, blue scale. So I see you in the next lecture for the Blues Scale. 152. The Blues Scale: So let's look at the blues scale and in this lesson, the sea blues scale. Well, the sea blues scale is derived from the seat pentatonic scale. It's actually exactly the same scale, but with one note at it. So the C minor pentatonic scale, I remind you that. And we add one note, and that's the F sharp or G flat. So to see, blues scale consists of roots, minor third, fourth. Yeah, you can say sharp four or you can say flip five. I will tell a little bit more about that later. Fifth, minor seventh, and back to the roots. So this F sharp or G flat, when I call it. So either an F-sharp and it's the sharp for or the G flat than it would be a flattened face. You'll see actually both. Some speak of sharp for others, a flat five. Now, when you see this from a point of view, jazz, that you would rather call it the sharp four. Because in a dominant scale, and we're talking about dominant scales here because into Blues, we use mainly dominant scales as you have seen. Not always, but mainly in dominant scale. We call this the sharp, well for actually sharp 11 and we said, but it's based on the for, of course, for 2011 artist. Same note. But you see that in the blues, we have the blue notes. The blue third in the scale of C, and the blue fifth in the, also in the scale of C, of course. So in blues, Yeah, because he call this the Blue Note, the blue fifth. Yeah. You see very often also, they say, okay, it's a flat fifth, so a G-flat, okay, it's not important at all, but just for you to know, of course, the scale stays the same. And of course you're going to practice with this scale. And like we did with the pentatonic scale, with a minor pentatonic scale, we're going to plate with play along file. So let me show you first simple and a new routes that said they're up. So here you play quarter notes, and of course you can also play eighth notes. One, F2, F3, F4, F1, F2, F3, and F4. Let me show you that also. That said okay, what I forgot to say was that in this case you don't go up till the F, as we did with the minor pentatonic scale. And you go up till the E flat, and then you go down till the B flat, up from C to E-flat, and down from C to B flat is just so that it fits into measure. And of course, you can also do triplets. Of course if you want, it's, it's an extra challenge. In this case, you played like I just played. So you go from C up to next, see, back to the C. So you just Dose two octaves. Let me show you how so triple-A triplet, triplet, triplet or 1234. Okay. Let me show you. And then you rub, et cetera. You can take all the three on three rounds, of course. Now has an extra, extra exercise. You could little bit interchange all the rhythm said, sometimes fourth quarter notes, sometimes 8 eighth notes, sometimes triplets. As you want. If you find it too difficult than just skip it. But for example, you could do this. You understand what I mean? Okay? Now, of course, this is not an improvisation, is just going up and down to scale, just for you to memorize this scale and to get it into your fingers. Real improvisation line, of course, is not this. We're going to work on that in the next lessons. So see you there. 153. Start to Improvise with the blues scale: Okay, so now let's start improvising. Nobody can know that blue skill and dependent on IQ scale. So, yeah, what can you do? Actually, of course, you're not doing what we've been doing in the exercises going up and down to scale. That's what the improvising as I told you before. So what can you do? Well, actually, it has to come out of yourself. You have to, yeah. Invents musical lines. So yeah, what are your nose musical lines? Well, the only way to discover that is to just try to do it. Just do something you could start, for example, or higher-up. Just make some lines. Now, of course, in what rhythm? Well, in different rhythms. But perhaps it's good to start just with quarter notes. Very simple. So I will play a little bit from the, from the track. Now you are also going to, to play it with the play along track just to try it to have a bit of feeling with how it sounds on the blues. So let me give it a try. Just quarter notes. As you can throw in some did a very long line, but you can throw in some balls that, sorry. It's another line. You can also make shorter lines, etcetera. Ok, so this was, of course a very simple, but it's very important. I think that you just try to find some melodies. Now of course, this doesn't sound like fantastic improvisation does because it's just the beginning. You're just discovering what you could all do with these pentatonic and blues scale. Where we're actually, I can just say blue scale because the blues scale is it part of the pentatonic scale? It's just one note more. And so let me play for you. Let me speak from though of the blues scale rather than the pentatonic scale. Now of course, this, we're just quarter notes. Let's try to throw in eighth notes. You can first do an exercise with only eight notes, but you could also directly mix quarter notes with eighth notes. So let's just give it a try. And don't forget to take a breath. That's from time to time, which I mean with that is that you don't play one big line during one whole blues progression, but leave space as we did in the former exercise. So let's go. So just experiment a little bit with that. Try to, try to make nice lines. You might do this over and over and over until we come up with something nice that you really like. You can even throw in some times some triplets. Let me try to do also. Okay. Yeah, you saw me also do. But it's something like that. That wasn't extra embellishment. You could put in everything you want. Of course. Of course you can't. So all you could also use grace notes, et cetera, has so try those things out. And in the next lesson we're going to take it even a step more up. So see you in the next lesson. 154. Adding in some more notes and grace notes: So in our beginning improvisation lessons, we've used the notes from the blues scale in c over the whole C major blues progression. But It's a C Major Blues Progression. So in C Major Blues, you know that the major third is the E. So why don't we play the E? Well, actually you can play the E when it's a major blues. Especially then you can play the, a note that we can add. Is that the only node that we can add? No, we can add even more notes about which nodes. Well, actually you can add notes from the C dominant scale. Well, we're, well, what does that at C dominant scale? Well, remember that when you have the normal Major scale that you play normally the B. Well, you know that dominant court uses not the major seven, but a minor seventh. So I would take, I would call the dominant skill this one, just like the major scale, but not the major seventh, but a minor seventh. So you can use actually all the notes from this scale, from this C dominant scale. So of course we used already the C and the F and a G. Now also to E, but you can also throw in the d and d a. So let's have a look at that. At, well, actually that's not the only thing I will do. I will also add in some grace notes because that makes it typically blues, bluesy. Especially when going to this, to this major third, I can go from the blue third. What we already did a lot in the beginning of the course. I could also do this from the blue fifth, two different fifth. And I can even do it to go from a flux to a. I can even do it from F sharp or G flat to F. Now for example. Okay, I'm just playing around a little bit just to show you that you can just use those notes are let's try what something. So I will put on the the practice file and add in some rhythm. Different freedom from time to time. Don't play. Just pay some lines and lift that can take a breath and started another line. And so use those grace notes and also major thirds and the D and a. So let's try it, et cetera. And that's a try that also out. You saw that I once used even the C sharp or D flat. I will talk about that in another lesson. But you see what I mean? So use all those notes and those that are in this dominant scale. And some grace notes from those nodes are down. Okay? See you in the next lecture. 155. Chromatic passing notes: Now in the last lecture, you saw me also sometimes playing the C sharp or D flat. And I haven't been talking about that node yet. So what was I, was I doing there? Well, what I was doing, but just, I can use grammatic passing notes to go, for example, from D to C, You can go. So it's not really a note that you would hang on, but rather as a passing notes. You can use. A lot of notes is passing notes. But even I don't have to go down. You can also go up. You see I even used major seventh. You say, OK, but wait a minute, it's, it's dominant. Scale has, so we don't have the major seventh. Yes. But just as a passing note, you don't hang on it. Actually, you could very well hang on it when you are in the seventh chord because it's a major third. But otherwise, just use it as a passing note. What I didn't tell in the last lesson is that you have to watch out a little bit with the, in the F seventh chord because the F seventh chord, it doesn't go very well together. This interval that doesn't sound very well. So of course, it doesn't mean that you may not at all use the E when there is an F seventh chord, but just watch, I don't hang on it the whole time. But use it as a quick passing note. Okay, let me show you what I mean by just doing a quick improvisation. To show you those passing notes. Very quick. There we go, et cetera. And so try to put that also in your place and that I'll see you in the next lecture. 156. Playing more than one note at a time: Okay, in this lesson, we're going to play several nodes at a time in our right-hand. Till now was played only only single notes. But why not play more nodes at a time? I will introduce several techniques and I will show you him didn't them all, when I play and I play them with a band together. But I think that you should concentrate one at a time and try them later out, one per one. But for now I will show, I will show you all those embellishment techniques. At the first one is playing in thirds. Third, third, third, third. This is also a third, and those are old thirds is one because we're in a dominant chord. So you could play thirds and you can even do it with a grace note, or this one with a grace note. So you could play this, for example. So it doesn't only have to be. Third. You can also play forward. Also with a grace note. Or you can play an octave. There are many different ways to play two notes together. Now, what you could do with playing thirds or octaves or whatever it is, or, or other intervals, is that you can play them in tremolo. What I mean, it doesn't have to be terribly quickly, can be just at your ease. Or and so let me play this with the, with the practice file and just throw in some of those techniques that you can use to embellish your solos. There we go. I did a little bit more than one round, but you see what I mean? So those travelers, or just play in thirds and throw in some some grace notes had its always nice. One other thing I have not been talking about, but what I've been using a little bit is putting on top, you see is that tonic of, of the, of this blues. Tonic means that we play a blues, C major. So C is the tonic. Whether you're playing the F chord or the G chord in this blues, C is the tonic. So putting the tightening it up for a melody the whole time. This theme you see in the top is a very nice effect. So I did this also in, in this practice file. I have a listen back if you want to see it. So try all those different, different techniques. And I will see you in the next lecture. 157. And now with Both Hands together: Let's finally add our left-hand. Now, this might seem very difficult in the beginning, but we'll build it up in steps. The first step we will take very simple left-hand voicings at, I've been talking about that before, that. You could actually just make it three note voicings. In the last section I've been speaking about that. You could, for example, for the C dominant seventh chord, just with this major third, minor seventh, ninth. So actually this is a seed ninth, or a C7 with added ninth, 40 F. Voicing that is very near is this one, is note, stays where it is at. Those two nodes, just go both half tone down. So what is it? Is a minor seventh in the key of F, major third, 13th, and so forth. To see I use it 9, ninth court, 13th, 40 F, or we take everything one whole note up. We have again minor seventh, major third, 30th. So this is also a 13th per. So for now, just take those courts. If you need to practice that, then just do one round of the blues with just those courts, etc.. But I will now start directly to try to improvise. And as I said, you know, buy with comping. We did it in a rhythmic way. We will do that later for it out, just do it very simple. You can just on the one of the measure and hold it for the whole measure. That indicates that you're solving here and your left hand take away. And you can, you didn't play all third and the seventh. So there we go. Okay, to keep it simple, I kept right hand also very simple, just with single notes from only the, the blue scale. But for as a first exercise, I think that's enough. Yeah. Well, I saw that I didn't always do just under one and hold the whole measure. Sometimes I did a little bit more of it. It's as you want. Okay. When you can play that, then you can take a step further. You could add in your left hand. So let's try that, et cetera. So first step, just play Simply the courts, the whole measure. There was simple soloing, a right-hand second step. Add a little bit of red that rhythm, but keep your right hand just with this simple, with just simple stuff. So adjust the blue scale for example. Okay, I think you have enough to practice now. And in the next lecture, we're going a little step further. See you in the next lecture. 158. Adding the Embellishments in the Right Hand: So till now when we play it both hands together, we kept the right-hand. Very simple, but you can of course also throw in all the embellishments that you know had. Third, the travelogue. See edits up all the things that we learned, the new things and well, everything, changing the rhythm and little bit everything, everything that you learned into Wright had to try to do it over the left-hand courts, left-hand courts. We keep them simple. It just those three courts. And if you want, you can put in a little bit of rhythm. If it's too difficult that just keep it to haul four beats of the measure as you want. Okay, let's, let's just try something. Well, let's see. Okay, I tried out some little, little licks and some little stuff that we all know more or less now. But I kept those three courts. Now in the next lecture, we're going to expand even a little bit on that. So, see you in the next lecture. 159. Adding the Embellishments in the Left Hand: So we've come quite far in improvising. But there are still things that you can add. Like, for example, in your left hand, you can make some more variation. We used to until now, all those courts. But why not taking them up? For C? You could have this voicing that we saw before. Minor seventh, major third, 13th, and this was with the ninth. This is with the 13th for F7 voicing that's closest to this one. Also, we've seen that before. So major third, minor seventh, ninth. So going from there, 13th, toDF ninth. And before we went from the C19 through the F3 and F4, gee, we've seen that now this one, we've used only this one. I think that's what the 13th, but you could also use this well. So major third, minor seventh, ninth. So that's one thing that you can do. You can, for example, start your blues here and do the whole rounds. And in the second route to take it a little bit more up. That's one thing. But there are more things that you can do. So you can do a practice session with the blues with one round does courts here, the second droughts more up? Or you can also make combinations between one rounder. Why not? Problem is of course that when you're here, you have to play with your Ryan had right-hand, how Europe you cannot beat both hands together. So you first try that. But I will not show it now because there are more things that you can do, but I think you understand the principle. I don't have to, to show you exactly how to do it. What we're doing next is to introduce this chromatic shifting also with our left hand. So while improvising with the right-hand, we can still do some chromatic shifting. So let's have a look again at what it was. When we did the chromatic shifting. We did it with both hands to gather, but of course now you do it only with your left hand. So to go to court, you could do this is deflects over C7. Or when you have your C here, you can do. Is this D flat seventh, and this is C7. When you go to your F chord, you can do this G flat seventh. And this is F seventh. Or when you are higher up here, then you can do this is what we've seen already in the coming lessons. And for g, You can do this. We've seen this already before L. So when you're comping lessons or when you're here, you could do this. So this is again, a flat seventh. To G7, or hear a flat seventh, G7. Okay, so that's our more embellishments that you can make. So let me just show you some final result of putting everything together now. But before you do that, you first do this around where you've tried just without the chromatic shifting, just for a sake. First-year course here and down here. But I show you only know that final result. There we go, et cetera. Now, I showed some more stuff that I didn't explain before. For example, I put in also this G altered, well, this is actually g old alternates, but when I would take only flat 13, then omega three, court a three note voicing of it. In the last measure, I played that last measure of the Blues, which goes back to the 17 and in the next round of the blues. So I didn't tell that before, but you can also add in, of course, those colors, those altered notes. And one other thing that I did also that was lost in the sea in one measure of C to the next measure of c. I also did. This doesn't only occur when you're changing code from C to F, F to C, F to G to F or whatever. You can also do it when you have two measures of the same chords from C. Next measure. Do again this. Why not? Okay, well, that's it for the C improvising and improvising on C major blues. In the next lesson, I will explain you how to extend it also to other keys. So see you in the next lesson. 160. Blues and Pentatonic scale in other Keys: Yeah, well, we have been improvising only in the key of C. And of course, when you are playing with other musicians, they want to play in other keys. For example, wind instruments often play in B flat or an E-flat. And guitarists like very much the key of E. So yeah, well, we'll have to learn the pentatonic scales and the blues scale and all those other keys also. And of course, the voicing so forth left-hand also. But for this lecture, let's concentrate on the pentatonic and the blues scales in other keys. We've seen already when I explained the sea blue scale, we've seen very shortly the pentatonic scale. You remember perhaps that it came from the C major pentatonic scale, the a minor pentatonics pentatonic scale came from the C major pentatonic scale. The C major pentatonic scale was 1-2-3, 4-5-6. And when you start that scale on a, you have the a minor pentatonic scale. So you can always find a pentatonic scale by looking a minor third up and take the root of that minor third up and then look at what's the major pentatonic scale is there. So the minor pentatonic scale, we know already, but let's look for another one just to show you how you can find it. For example, I'd want to know the E minor pentatonics, pentatonic scale. Well, just go up a minor third from E, g. So you have to C and a G Major scale, of course, you know in a G major scale, only one sharp, F sharp. And you need the first, second, third, fifth, sixth note. So you need dose notes, but Dan, you start on E. So this is your E pentatonic scale. You can take the high E also. So that's how you find minor pentatonic scale. How do you find the blue scale? Well, just at the sharp for or the flat five. So from E. When we have this, this minor pentatonic scale, then of course this is the fifth and this is the fourth and the scale of E. So the sharp four or fled and fifth is in-between. So this is our E blue scale. So that's how you find it. Well, we have already the a minor pentatonic scale. So let's also look for a blue scale. So those were the notes of the a minor pentatonic scale. So just at the sharp four in the key of a or the flat five from this is the fifth, so this is the flattened fifth. So you have to add that note. And this is your a blue sky. Now, I will put all the pentatonic, minor pentatonic and older blues scales in all the 12 keys in a PDF file into resources of this lecture. So, but it would be a good exercise to first try it out yourself. Of course, you will perhaps not find those which you don't know the major scales yet, but for all the others, yeah, you can do it yourself. And I would advise you to do that first yourself before looking into the, into the PDF file. And it's good to have the PDF file, of course, to have an overview and to see if you did it right, et cetera. So that's how you make minor pentatonic and blues scales. In the next lecture, we're going to see how you can improvise in a blues in E major. So see you in the next lecture. 161. Improvising in other keys: Okay, as I said in the formal lecture, you might want to play other blues than only in C Major. And I will show you the principle how to do that. And I will show that in the case of blues in E major, for example. Now, what do we have to do? Well, actually you have to transpose all the voicings and all the scales and all the ideas that you have, like riffs and lakes and all that stuff. You have to transpose that to another key. So in this lesson, I explained you what is the principle of this transposing is how it works. As you know, in the key of C, we had, for example, three voicing for C, 70, F7, and the G7. So how do you transpose that to the key of e? Well, you can of course, use the PDF file with all those voicings that you had in the coming section. And make out of that three-note voicings. Or you can of course also use for note rootless chord voicings. It's as you want, but you can also do it in another way. You can see, okay? You can say, okay, how is this In C? It's a major third, minor seventh, ninth. Ok, let me do that in IE, which is now our one chord. So that would be major third, okay, that's G sharp, minor seventh and the ninth. Ok, so this would be our one chord. This is the ninth with the edit button. When you want to. That same thing, but for E 13th, remember in C It was this. So minor seventh, major third, 13th. So let's do that in the key of E. So we start with minor seventh, done major third, 13th. And see if it sounds. Yeah, this is possible, not too low on this keyboard. So there you have your 13th voicing. Well, okay, let's look at the four course, that's the f. So by the way, in E, the forecourt as the fourth would be the a, so a seventh. Now, what did I do? Okay, the seventh, so that's minor 7, third, 13th. So we started on the minor seventh in the key of a and a 13th. So this would be our a 13th, the ninth. Ok. How did we do that? On the F? When were you can also see it doesn't matter at which at which cordial look, but okay. So that's a major third minor. Seventh, ninth, so major third in the key of a is the C-sharp. That's, this is the minor seventh and what we need the ninth. I think this starts to be already too low. Okay? The FISA courts B. So let's do the same thing for B. So 73013 is, would it be more voicing for, uh, be altered chord? This is the B 13. Now let's look at the w0 ninth. So we start now not on the Sabbath but on the major third. Then the minor seventh and the ninth. So this will be RB ninth, little bit low, but it's, I think it's on the limit. It's, it's ok. So that's about chord voicing for the left hand. Of course, you can do a similar thing. When you're comping had you, you, you have your voicing, let's say, and a court to do root, fifth root and all the other stuff I showed you in the sea blues. Ok, but let's talk about improving improvisation. So with soloing. So that's about the left-hand and the right-hand side. Of course, you have to know your blue scale. So what you're actually going to do is find all the stuff that you did for C, tried to find it for IE. So try to practice the blues scale and you can do that of course, with the blues and E. What I will do is I will put all the blues in, all the 12 keys in the resources. So play along file. So you can play everything, you can study everything in every key. Now of course, we haven't done a three keys yet. That will be in the next section. So if you've done the next section, you can do also Dose three. But to be honest, playing the blues and all the 12th keys is great, of course. And if you really want to go more on a professional level, yeah, you should know the blues in all 12 keys. If you decide to just play with other musicians and have fun and not having it too difficult, then you don't know that, then you don't do those three extra keys, of course. So up to you. So this is the principle of transposition. Just try to apply it to whatever key you want. E is a good key. That's why I chose E, because guitar players like the key of E, But as I said, wind instruments like the key of B flat. So try the same thing. First, also in B flat, E and B flat. And then you can play already with a lot of musicians and then slightly go Autor, go to other keys. So that's it for this lecture. And I see you in the next one. 162. What are turnarounds?: Hi and welcome to this section about turnarounds. So what is actually a turnaround? Will it turn around is actually a court progression to get you back to the one chord at the top of the blues progression. So when we take the basic blues progression that we used in the last section and we concentrate on the last four bars. Then you see that the chord progression 5415. So in the key of C, That would be G7, F7, C7, G7 actually leads to the one chord at the top of the blues progression, which is the C seventh chord. Now very often in the last two bars of the blues, we changed a chord progression to have another form of turnaround that leads back to the one chord at the top of the blues progression. You can make, of course, millions of variations of Turin and rounds. But I will discuss some of them in this section at, in the next lesson, we will start with the so-called 16 to five progression. 163. The I-VI-II-V turnaround: So let me explain you in this lesson to 1625 turnaround. And to begin with, what does it mean 1625? Well, actually 16, two fives are the degrees of the courts of the key in which the blues displayed. So for example, in the blues in C, the one court is obviously C7, the sixth chord. Well, what's the sixth note in the key of C? That's the a. So that's an A7. This six chord is A7, A8 to court. Well, that's the D chord, of course, because it's the second note in the C major scale and to five court, we've seen it very often already in the blues. Thats the G7 chord. So did turn around would be C7, A7, D7, G7. And as you see, they're all dominant chords. Does that mean that the turnaround always consists of dominant courts? Know, you also can have minor chords, you can have diminished courts. And later on in this section, I will show you a turnaround with a diminished chord. But for now in this lecture, they're all dominant chords. In the last two measures, we have four quarts. That's what it means. Two beats per measure. It every measure contains two courts. So that would be C7. I will take this voicing for now. The C9, A7. Hey, that's a bit strange for us than you would expect. This one. Where the F-sharp would be the, the 13th. Could I add in the ninth? But let me take three-note voicings. But why do I throw in the flat 13? Or actually, because the F is in the key of C, And that sounds nicer than the, than the F sharp, which would be the 13th. So I take an A7 flip 13 court, then D7 with a ninth at the G7 with the 13th. I will let you here with the, with the bass notes. And now you go back to the one courts at the top of the blues. So what I would play the whole last line, sort of last four bars. We have first the G chord, of course, 2344234. And then we go back to one in the beginning of the blues. So with a right-hand melody, for example, that's good sound as follows. Or when I would improvise over it, it could be as follows, and it will take the last four measures. So from the G7, for example. So that's the 1625 turnaround. 164. Variations of the I-VI-II-V turnaround: Now let me talk about some variations on the 16 to five turnaround. At the first variation we are going to make is that we will change the five court into a flat to court. So the five court was our G7. We will change it to a D flat seventh with it, which is the flattened second. I wouldn't. D is the two courts than D flat is the fled to. So a d flat seventh chord. So this is the third. This is the seventh. We can then take the ninth for example. So this is D7 with added ninth. So to D flat seventh was nice. So the D-flat ninth. Let me show you how that sounds. So we don't have 165. And back to one. That's also very nice. Now, the question may arise, why flat two instead of five? Well, look, how far is the flattened to the flattened D flat from the five. Let me see, that's one holds on to whole tones, three whole tones. So that's a tritone away. Now perhaps you remember that I once explained that two roots that are a tritone away Have the same major third, minor seventh. And I remember that, I think I explain that with an E and a B flat chord. So when we take with v, ie, the third, sort of major third and a minor seventh. Let me take it here. Then. We have an E seventh chord. When I put a B flat under those same two notes in my right hand, then I have a B flat seventh chord. Why? Because the third of the e, which was the G, the G sharp is an a flat indicates of B flat, which is the seventh, minor seventh. And the D, which was the seventh for the E, is now the third in the key of B flat. So this is a B flat seventh, and this is an E seventh. And B flat and E are exactly a tritone away. What I'm actually doing is I substitute for my five chord. I'm going back now to the key of C. Yeah, so my five chord was a G. And let me take only the seventh and the third now. And I replace my bass note with a D-flat. C. This is a G seventh, and this is a D flat seventh. Now, I only add to the ninth to, to make it a little bit more rich sounding this discord. So instead of a G 13th, I know play a deep flat ninth. So again, our turnaround is then 1621, the one being at the top of the blues again. Now this replacing of a dominant chord with a dominant chord, a tritone away, is called tritone substitution. And it's a technique that's used in blues and also a lot in jazz. Now, what do you see? You see a very nice chromatic baseline movement to the six. Not dramatic, but here, D, D flat, C, D, D flat, C is now a chromatic chords, a chromatic note movement in the baseline. And that's very nice. And I can actually make another chromatic movement when I replace the six court by a flip three CT. So to six court was our a flat. Now, tritone away is my E flat, and that is the flat three. So let me play that. So one, c, That's, so that's C7 flat seventh, D7, D flat seventh, C7. So now we have to chromatic movement, E flat, D, D flat, C. So that art variations on the 16 to five turnaround. 165. Another Turnaround: So I'd like to show you 100 turn around it you can see in the blues and actually let me play it for you. Okay, let me play it one more time, but very slowly and count with it. So actually a 1.534. And so that was the first measure, 1234, and then you start the new measure. So that's three. So let me try that again. 1233. And, and then you start again with the one at the top of the blues. So what actually am I playing? So this is just CC. Then I played this court. So what is this actually? Well, when I would take this B flat here, then you see that I'm just playing a C seventh courts. This is in first inversion, but take it here. And I just have the B flat in the base, but it's still a C7 chord. Then the next court, I take those two fingers down. I go half tone down in my left hand. So what does this court well, when I would take the a here, perhaps you hear it. It's a diminished chord. We played it in the beginning like this. Remember, root, minor third, diminished fifth, and diminished seventh, right, was a b double flat, I hope you remember from the lesson where I did the diminished chord. If you can call it an a, but officially it's a bead double flat. But let me call it C, E flat, G flat. So now in the base, so I make this chromatic baseline and the next court. So what is this? If I would take it and I will even take this D up here, then you see it even more clearly. It, it's actually an F minor chord. This would be an F minor triad with an added six. This is the sixth note. So you would call it F minor sixth. Remember that in a, in minor courts we call it the sixth note of thirteenths, that was in dominant courts. So it's actually an F minor sixth where your minor third is at the bottom. So the a flat. And the next court, but let me pay for the whole thing. Next court. Slight this influx to E. You can also just take this without sliding, but it's nicer. So what is this? Well, when I take the G here, it's just a C chord. No seventh or what? Just a secret. I sorry. And then that's the last scored. Best F-Sharp G. And then what we play is actually, well, what is, what is this? It's the sharp nine, G sharp line. You could eventually all also play G flat 13th. You can also play them both, that you would have a G altered chord. But to keep it simple, let's just play the G sharp nine. So from the beginning, C7, C, D, E diminished, F minor sixth, C, G7 sharp nine. And this is already at the top of the blues water. So what did I play here? You're just G, a, C, but in a left-hand, I just have actually G chord, but I only have the seventh and the third. So it she seventh chord. And this is the one at the top of the blues, the one court, right? So one more time. So that's another turnaround. 166. The missing Major Scales...: We've seen nine different major scales, so there are still three that we haven't seen. So I will explain that in this lesson. Now. It's totally at the end of the course, or almost at the end of the course. So why did I do it? Why did I put it at the end of the course? Well, because they are more difficult of course, but also because they're less plate. You don't see them that often. Now, if you're planning to play chess or a jazz blues, you will see them more often. So in that case, you can learn them here. If you want. Just keep it, you just skip it of course. Okay, so when we look at the cycle of fixed, you see here the three missing scales. So we will start with a flint, and we will of course use a major scale formula, but I will not do it so thoroughly as I did before because you know, to principle and you can find it actually yourself. It would be a good idea, perhaps to stop the video and just try it yourself first. But what I will do is just show you the results. So there we go. And with the note names, that is a flats, B flat, C, D flat, E flat, F, G, a flat. Okay, the fingering very quickly. Just look at my hands and you can find the fingering and everything also in the resources. So just quickly one octave to actors, Left-hand, two octaves. That was a flat. Let's go to the next one in the circle of fifths, which is D-flat. The notes are, and with the note names, D flat, E flat, F, G flat, a flat, B flat, C, D flat. And you see the fingering back to octaves. Left-hand, two octaves and back. Okay? The next one is F sharp, G flat, and this is a little bit a special one. So we will devote a little bit more time to this one. Because first of all, it depends whether it is F sharp or G flat for the note names, not for the scale itself, for the notes on the piano that's exactly the same. But for the note names it's a little bit different editors and other special thing because, you know, there are six sharps or flats in the scale. And as you know, we have only one, Forty-five different black keys on the piano. So how's that possible? So let's first start. I will first starts to show you the scale just on the piano. So let me start with F sharp. Do note names. F sharp, G sharp, a sharp. Then for the fourth note as sort of a last note was something with a. So this is just B, C sharp, D sharp. But after d, we have to, we need to let her ie. This can only be an E sharp and this is F sharp. So this is where our extra sharp notes comes from. This makes that we have six sharps into scale because this is called E sharp AND NOT F, because F, F sharp is not possible. We know the rules. Let me look at the G flat names. G flat, a flat, B flat. That's all, no problem. But from something with b, we have to go to something with C. So this must be C flat, and this is r six, our sixth flats note. So C, E flat, D flat, E flat, F, G flats. So that's why you have six sharps or six flights, because in the, the F sharp major scale, this one is called E sharp. So white key is, it has a sharp note in the scale. And in the G flat scale, this one is a flat note, so B, C flat. Okay, let me do that fingering. So just have a look. And back to octaves. And BEC, the left hand, and back to octaves and back. Okay? As I said, you find everything into resources. So you have a PDF file with the scales and the names and to finger positions. But you will find also of course, three practice files so that you can practice the scales with play along files. Now if you don't know how it worked anymore, just go back to the beginning of the course where I explain in the C major scale. So the very first skill, how you have to use the Play along files. Okay, that's it for now. In the next lesson, we will look at the courts, Sudan. 167. Exercise: All the major scales: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 167. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 168. ...and their Dominant 7th Chords: So after this, we will have a look at the courts. So we will start with a flips. As you know. We will start with, with triads and as you know, defer to try it, we have the first, third, fifth note of the scale. So this is the a flats major tribes. And of course you can make that theirs is then root position. You can make inversion, first inversion. And this is the second inversion. And of course, we will also have a look at the dominant seventh chord. So we need also to seventh. And as you know, it's one whole tone lower than the root, this root. So here we have the leaflets, dominant seventh chord. And we can make inversions desist position. First inversion, second inversion, third inversion. Okay? If you think that I'm going to quick, of course, you look in your resources, everything is there. So we can go to the next one that's deflects. So D flats. When you take the scale, that major scale, you take the first, third, and fifth. This is the D major triad in root position. First inversion, second inversion. Let's look at the dominant seventh chord. So this is the triads. One whole note on their director is here. So this is the D flats dominant seventh chord in root position. First inversion, second inversion, third inversion. And then we come to the F sharp or G flat, dominant seven. Well, first to try it. So first, third, fifth. And this is the F sharp or G flat major triad in root position. First inversion. Second inversion. Let's look at the dominant seventh score just so one whole tone on dirty F sharp or G flat is here. So this is the F sharp or G flat dominant seventh chord in root position. First inversion, second inversion, and third inversion. Okay? Of course, you want to practice with this. And as always, we'll do that in a blues. Well, you will do that in a blues. I will not show you because it's the whole time. The same principle. You will have a Blues in D flat and the one to four and to five court art and D flat, G flat, G flats being to fourth and a flat. A flat, it's being D5 court. I didn't say F sharp because when we talk about D-flat as being the key in which to boost blues is plate than the fifth note, sorry to fourth note to forth into key of D flat is the G flat, rather than to dumb down the F-sharp. But of course, you practice with the F-sharp, dry it and, and dominant seventh chord as well because it's exactly the same on the piano. So into resources, you will find blues in deflect. You can practice with it as normally as you always did to practice Dose three new court's. Okay. That's it for now. And see you in the next one. 169. Exercise: All the dominant chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 169. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 170. The missing minor scales: So let's have a look at the missing minor scales than natural minor scale, of course. And there are six missing minor scales. Let me show you in the cycle of fifth, you see on the left side, the last one we've seen most of C minor scale. And after that, the F minor scale, we've seen the core Teddy F minor chords, but not the scale yet. So, so we will do the F minor scale, then we will do to B-flat minor scale. Then we go to the other side, to the F sharp minor scale, then C-sharp minor, G sharp minor. And the last one we will do is the d sharp minor, E-flat minor. And those are, of course, the same notes. So let's start with F minor. And as you see, the F minor scale is derived from the A-flat major scale. So a flat major scale, we've seen it in last lecture. When we start this same scale on f, We got to following notes. So those are denotes f, g, a flats, and flat, C, D flat, E flat, and F. Okay, so that's about f minor. If it's going too quickly, you know its inner resources, you have everything, right so you can look it up at your ease. Let's go to the next one, which is B flat minor, which is derived from the D flat major scale. So D-flat major, that was, so now starting on B flat. So that's B flat, C, D flat, E flat, F, G flat, a flat, and B flat. Okay, we go now to the right side of the cycle of fifths, where we have the scale with sharp notes, that we start with F sharp minor, which is derived from a major, a major scale. We all know that we will start this same scale, but on F sharp. So those are denotes F-sharp, G-sharp, a, B, C sharp, D, E, F-sharp. And that is F-sharp, natural minor. The next one is C sharp minor, and it has the same notes as the E major scale. So E Major is, and we will start. Now, I'll C-Sharp. So that is C sharp, D sharp, E, F sharp, G sharp, a, C Sharp. The next one, G sharp minor. It has the same notes as w0 major scale. So to B major scale, I hope you'll remember. And let's start that same scale. But now on a G-sharp, soda, it is G sharp, a sharp, B, C sharp, D sharp, E, F sharp, G sharp. And the last scale, which is either D sharp minor or E-flat minor. I will first look at denote names in D sharp minor and dilator denote names in E-flat minor. Of course, of course they're exactly the same keys on the piano. So I have to look at F sharp to know the F-sharp major to noted notes of d sharp minor. So F-sharp major. So we will start exactly this same scale, but now starting D-sharp. So that is so D sharp, E sharp, F sharp, G sharp, a sharp, B, C sharp, D sharp, E sharp, because it's the note after the D-Sharp and after deep comes the letter E. Let's now look at, from the point of view, E-Flat. So exactly those same notes on the piano, the same keys on the piano. But we call them now with flip notes. E flat, F, G flats, a flats, B flat, C flat, D flat, E flat. And now are strange note is this one. This c flipped exactly the same of course, as into G flat major skill. Ok, so those were the six missing minor scales, natural minor scales. And as I said, you can find them all back into resources. See you in the next lecture where we will see the courts. 171. Exercise: All the natural minor scales: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 171. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 172. ...and their Minor 7th Chords: And finally, we'll have a look at the chords, that minor chords. And we will start with B-flat minor, F minor. Well, we've seen it before. You forgot it. Ok. I will show you quickly. This was F minor and this was F, F minor seventh. So as you can, if you don't remember, you can take the major, F major and lower the third. That was an easier method than to take the first to third fifth of the minor scale. You can, of course also do dads, but it's easier to take the major court adds to lower. The third. And the seventh is of course the same. It's the minor seventh in both dominant courts and minor seventh chords. So that was F and D inversions. You know what's so B-flat minor. Ok, let's look at B flat major. If you remember well, and we lower the third. R denotes B flat, D flat, and F root position. First inversion, second inversion. So when we take one note under root, we have to seventh, minor seventh, and this is B flat minor seventh in root position. First inversion, second inversion, third inversion. Okay, the next one, F sharp minor. I hope you remember that this is, this was D, F sharp major triads. The third to the major third is this one. So the a is the minor third and F-sharp, a C sharp is the F-sharp minor triads. Root position, first inversion, second inversion, four to seven for which just adds to the seventh. This is the root. Then this is the seventh one, a whole tone under the root. So F-sharp, a C Sharp, ie, is this D F sharp minor seventh chord to in root position. First inversion, second inversion. Third inversion. Okay? Yes, C sharp minor. Now, the little problem is that we don't know C-sharp major because we didn't have a C sharp major scale. Well, there exists in C sharp major scale, but we call it the D flat major scale because of course, D flat is the enharmonic equivalent of C-Sharp. So. Let's have a look at Def left majored and that was this court's, this triads. So this is also a C sharp major triad. Of course. What's the major third is one. So we lower it to d. So this is the C-sharp minor triads, whatever notes. Well, C-sharp, E, G-sharp. Visas, root position, first inversion, second inversion. And when we add the seventh, the seventh won't one note under Nero to. Then we have the C-sharp minor seventh chords in root position. First inversion, second inversion, and third inversion. Okay, finally, G sharp, minor. Now G-sharp, we don't know the major scale, but we know a flits major. And we know the, a flat major triad, which is this one. So this is also the G sharp major triads. Well, we want to make the G sharp minor triads just lower this one. The third to the minor third. So this is the G sharp minor triad. G sharp, B, D sharp. This is of course, a root position. First inversion, second inversion. And that's the seventh one note is this one. G sharp minor seventh, root position. First inversion, second inversion. Third inversion. By the way, I forgot to say that G sharp minor, you sometimes also see a flat minor in music. And for C-sharp minor, you very often see also deflect minor, just remembered and notes and you know how you have to play it. And the last one, D sharp minor or E-flat minor. Let's first look at D sharp minor. Of course. As always, they are the same keys on the piano, BAD, with different names. Ok, so D sharp minor. Well, Let's look first at D sharp major, which is of course the same as E sharp, E flat major. So E-flat major was this court. At E-flat minor? E-flat minor. I wanted to say deep sharp minor, but of course it's, it's the same. So for denote names, this would be D sharp, F sharp, a sharp. That's the d sharp minor chord. If it's E-flat, then you say E-flat, G-flat leaflets. But of course, they're exactly the same keys on the piano. So these, this root position, first inversion, second inversion. Let's look at the seventh chord. In that case, we add one note under the root, which is this one, which he's indicates of D sharp, C sharp. But the indicates of E-flat minor, this is deflects. Okay, this is good position. First inversion, second inversion, third inversion. And now we've seen really all the minor and major chords. So that's it. And see you in the next lecture. 173. Exercise: All the minor chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 173. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 174. Exercise: All the dominant 7th and minor 7th chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 174. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 175. The rootless Chord Voicings: The missing chord voicings that we've seen in this part for a flat, D flat, and F sharp, G leaflet were all normal chord voicings. And what I mean by normal CT voicings is that they're all built with the root, third, fifth, seventh notes of the scale. But what about rootless chord voicing for a flat, D flats and F-Sharp G flat. Well, actually, we have already seen them. That wasn't a lesson called adding altered notes. The altered court. Perhaps you remember that the voicing for C seventh chord with added ninth 13th was also a voicing for F sharp or G flats, altered courts and vice versa to voicing for an F-Sharp G flat seven chord, well, it's the same as that for it. C7 altered. Court remembered that. So you can easily find the chord voicing for a flat seven, D flat seven, and F sharp, or G flat seven, by taking simply the chord voicing for D altered, G altered and see altered. But to have a complete overview, I edit a PDF file and resources of this listen with older rootless seventh and altered courts for all the 12 keys. So I would say just have a look at the resources to have this complete overview. 176. Major 7th Chords: I'd like to speak about the major seventh chord. Now, you can ask yourself why? At the very end of the course, I suddenly speak of the major seventh chord. Well, actually, because you don't see it that often. And especially in the blues. Don't see it that often. Perhaps in a jazz blues, Yes, but yeah. Why do I talk about the major seventh chord then, if it's not so very much used in blues, well, actually, you might forget, for example, in the future, want to know a little bit more about jazz, play some jazz. Or perhaps you, When you make music, you suddenly see a major seventh chord. So in that case, you know what a major seventh chord is and how you can play it. Actually, in the next lesson, I'm going to talk a little bit more about jazz blues. But in that, jazz blues is not a major seventh chord. But anyway, so after this lesson, you will know more about the major seventh chord. Now you remember perhaps that when I was introducing seventh courts that I spoke about the major seventh chord. Now remember that when we have a triads and let me take the C triad here, that the major seventh is the b. So actually it's very simple. This is a major seventh chords. And I see the difference with a dominant seventh chord to a dominant seventh chord has also a major third, but it has a minor seventh. And this one has a major third, major seventh. Perhaps you remember also that there is also a court with a minor third and a major seventh. The minor major seventh chords, but I will not talk about the minor Major seventh chord only. The major seventh chord, a minor major seventh chord, is used in jazz also, but you don't see it outside of JS. Well, rarely. So that C Major seventh chord, of course, you can also make inversion. You notice three different inversions. And actually, this is a voicing, for example, a left-hand voicing that you can use for the C Major seventh chord. Also, you can add notes to the major seventh chord if you want to make a rootless chord voicing, for example, you could add them nine, so I didn't have major, third, major seventh, and the ninth. This could be a C Major seventh chord. Now you can say, hey, wait a minute, but this is an E minor seventh chord, E, G, B, D here would be root minor third, fifth, and a minor seventh. Well, yeah, it's also a court voicing for an E minor seventh chord, but it's also a rootless chord voicing for C Major seventh chord. When you play a C in the bass. Then here clearly that it's not an E minor seventh chord. Okay, what other court voicings Could I have for C major seventh chords? And I will speak now, rootless chord voicings that you would do mainly with your left hand when accompanying. For example, yourself in a solo into right hand or by adding some nodes in your right hand. Well, I will show you a voicing. That's this one. And D was that, that's major third, fifth, the sixth, and the ninth in major seventh chords, this is not called 13th, but sixth. So safe. And now I hear you say, hey, wait a minute Martin, you forget to seventh. It's a major seventh chord and there's no seventh. Yeah, yeah. Well actually I didn't forget to the seventh. It is sixth and the ninth. They actually replace the seventh, the major seventh. So a seat 69 court, and you could write it as this, actually replaces the seventh, as I said, the major seventh and can act as a C Major seventh chord. So this is also C Major seventh or C6 nine chord voicing. You could eventually leave out the fifth and then you have a three note voicing. Okay? So this is for the key of C. How was it in other keys? Well, just remember, if you want to make a voicing, you could make, for example, the voicing seventh and then try it. Or you make the voicing 3569 or 369. So for example, let me say, I want to know it in g. Well, 3569, for example, in g, This is the 3569. And this would be a G sixth time or C Major seventh voicing. Or you can say, or you can say, for example, I take the major seventh and down to try it. This is also a voicing for a G major seventh chords. So when you take this method, you can take, you can make all the other major seventh chords. 177. Exercise: All the major 7th chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 177. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 178. Exercise: All the dominant 7th, minor 7th and major 7th chords: In this lesson, you can do interactive exercises to train the theory you've learned. To do so, open a PDF file and your resources with the name exercises blues piano course dot pdf and click on Lesson 178. This will take you to the page with the links to the interactive exercises. Just click on the link and the interactive exercise will open in your browser. 179. The Jazz Blues Progression: Jazz blues is a huge subject. And even if it's not really part of this piano blues course, I still wanted to give you a short introduction to JetBlue's. And what I will do is to show you how you can go from a very simple, basic blues progression. So one that we've already used before in this course to adjust blues progression by adding more cores, eventually with alterations, especially by adding so-called 2-5-1 progression that is typical in jess. So before starting to enrich and our standard blues progression with Jesse courts and court formulations. Let me first tell you a bit more about the 2-5-1 progression. So in the key of C, the Warren Court is obviously a C chord. But what kind of a c ct. Now mostly ingest this is a C Major seventh chord, but it isn't necessarily always a major seventh chords. It can also be a minor seventh or a dominant seventh chord. The two chord is a minor seventh chord in the key of C. This is a D minor seven, and d5 CT is a dominant seventh chord in the key of C, G7. So a 2-5-1 and C is D minor seventh, G7, C Major seventh. Where to last courts could eventually also be C minor seventh or C7. Okay, let's come back to our blues progression. And the first thing we can do is to introduce a 2-5-1 progression that starts in bar for, at the Warren Court is the court in bar five. So this is an F7 CT. Now if it's some strange for you to die now suddenly called the F chord, one chord when we have a blues in the key of C, you would expect C to B to one chord, but this is only locally. So in bars 45, where f is locally, one court for it, 2-5-1 progression in bars 45. So f is the one court, in this case, a dominant chord. The two court is then a G chord, G minor seventh, because the two chord was a minor seventh chord and the five chord, well, the fifth note in the key of F is a c. So this is a C7 dominant chord because the five chord is a dominant chord. So when we put G minor seventh C7 in bar for, we have a 2-5-1 progression in the key of F. So what more could we do? Well, in bar six, we can do something with which we have done over the before in the blues blue monk. And that's to make this f ct an F sharp diminished court. So one were still coming out of bar five in the key of F. Then we could call this the sharp one, diminished chord, sharp one, because f was the one. And sharp one is then F sharp. F sharp diminished is then the sharp one, diminished CT. Now of course, if you don't want to see it locally, but globally, so I will just say the key of the blues is in C, then you would call it, of course, a sharp for diminished court, since f is done before a court and F-sharp, that sharp for CT. Now, let's look into last line of the blues, and especially to the measures 91011. In Bart 11, we have the seat seventh chord when we consider Discord as a one court, which is of course now also globally a one court because the blues is in C, then we could precede that in verse 910 with a 2phiF regression. The two is d minor seventh, D5 is G seventh. So in bar nine, we would put a D minor seventh chord in Barton, G7. And we now have a 2-5-1 indicates if c. Let's move a little bit back to Bart eight because I'd like to make here also a 2-5-1 where D1 is embargoed nine. So no one is now a D minor seventh chord, a minor seventh chord in this case. So the one is the D. What is two? Well, that must be an E. An E minor sevenths wants to five. Well, the fifth note in the scale of D isn't a. So a seventh, which makes that embark eight, we put E minor seventh, seventh, which makes a 2-5-1 E minor seventh, eighth seventh, D minor sevenths into bars 89. Now the last thing we're going to do is it turned around in the last two measures of the blues. So in measures 1112, we're going to make a 16 to five progression. So a turnaround. Go back to measure one of the blues are one-quarter, is of course to see CT. In the second part of the bar 11, we will put the six court, so this isn't a seventh. And into last bar, we will put d2 and d5, which are D minor seventh and G seventh. So this is our new blues progression. Now, what alterations could we make? Well, there are a lot of possibilities, but let me give you just one possibility. For example, the a court's embark eight and Bart 11, we can make them a C7 flat nine, for example. Another alteration we could make, the very last CT, which is a G7. We can make it altered. So here we have our final jazz blues progression with a lot of ad. It's 2-5-1 progressions and some alterations. Is this the only possible jazz blues progression? Well, of course not. It's just one way of making a jazz blues progression, but I just wanted you to show a possible process of making a jazz blues progression out of a very standard, basic blues progression.