The Ultimate Piano/Keyboard Course from total Beginner to Advanced-6 : Seventh & diminished chords

1. Introduction: Hi, This is part six of the course series, the ultimate piano keyboard course. From total beginner to advanced. My name is Martin Cohen. I'm a musician, I'm a composer, and I'm a piano teacher. Now, if you're a beginner, you would probably want to start with part one of the core series. In-depth case. Just go to this description of this course and you'll find the link to go to part one. Also, if you're not a beginner, but part six is not the right course for you. Just have a look in the description of this course series because you will find a description all the ten courses in this course series with links to all the ten courses. So what will you learn in this particular course? So part of this course series? Well, in this course, you will learn this seventh chords and the diminished chords. So in former parts, we did try it. We will know in this part of the course, part six, do this seventh chords, which are triads plus the seventh note. So dominant seventh chords and minor seventh chords. Now there are more seventh chords That's exist, but we will do that in later courses if this course series. And of course, as I said, we also do diminished chords, first diminished triads, and then diminished seventh chords. So if this is the right course for you, than just start with this course. If not, then you can always choose another course in this course series. And again, you can look in the description of this course. So I really hope to see you inside of this course or in another course of this course series. 2. Introduction to 7th chords: Hi, Before you begin to course, it would be good to download first all the resources that go with a lot of lectures in this course. To do so, go to the Projects and Resources tab. And here you see a file that you can download and that contains all the resource files. So do that first and after that, Let's start with the course. Till now, the only courts that we've seen where it dry, It's major triads. Minor triads. Triads are cold like that because they're made of three notes. But it's possible to make courts with more than three nodes, seventh chords. Now when you know how to make it dry it major or minor triad, then it's very simple to make a seventh chord, because a seventh chord consists of a triad plus a seventh note. Remember that a try It was built off the first, third, and fifth note of a scale that can be a minor scale or a major scale. With a seventh chord, you just add the seventh. When we take e.g. the C major triad, as you know, this consists of the first, third, and fifth note of the C major scale. When we add the seventh, which is the B. The B is the seventh note in C major scale. Then we have a seventh chord. Now, it's possible to not only add the major seventh, you know that the beat is the major seven, but you can also add the minor seventh, which is, as you know, the B-flat. When we take a C major triad, we add the B-flat. We can get this chord. Now, let me speak about this. Two different seventh chords that I just made. The one with the major seventh, the B and the one with the minor seventh. The B-flat. Of course, when we say in a major scale, we take the seventh note. The seventh note in the major scale is supposed to be and not a B-flat. But we can add either the seventh or which is the major seventh, the B, or the minor seventh to be flat. Now it is first court, and I'm made of basic C major triad with the major seventh. We call that a C major seventh. Is C major seventh. You can notate it as C with an m, a j, and then seven. Or you can use the following notation, C with a triangle. And that triangle is actually the Greek letter delta. So both mean that you have this C major seventh chord. C major, C major triad, with the seventh note out of the C major scale. When we take the minor seventh in C major, which is the B-flat, together with the C major triad. Then we get a chord that we call C dominant seventh are also called simply C dominant. And actually most often simply C7. C7 chord again, exists of the basic C major triad with a minor seventh. Now to be honest, this C dominant seventh chord, or simply C7 squared, is used much more than the C major seventh chord, especially in rock, blues, pop music. But you see sometimes the C major seventh chord, C major seventh chord is played a lot and Jess, but since this course is not specifically meant for jazz, I believe to C major seventh chord for a little bit later, we will first concentrate on the C dominant seventh chord. So until now, I've shown you how you can form a seventh chord with the C major triad by adding a seventh, either two major seventh chord, a minor seven to a C major triad. You can do the same thing, of course, with a C minor triad. You know that the C minor triads, the notes and C, E-flat, G. And also here, I can add either to major seventh, the B, or the minor seventh, B flat. Now, to be honest, when I take the first version diversion with the major seventh, this court is played in jazz, but very, very little in other styles of music, especially in blues and pop and rock music, almost never. So I will concentrate now on seventh chords, where we combine the minor triad with a minor seventh. And we call this the minor seventh chord, C minor seventh. And you have several notations. So either see with little m and a seven, or C with a minus sign and a seven are also see with another's MIN and a seven. So this is the basics of how to form a seventh chord. Again, for now we will only concentrate on courts with a minor seventh. So either the major triad with a minor seventh, which is the dominant seventh chord, or simply seventh chord. And the minor triad with a minor seventh. And again, the major seventh chord, the one that was for him, but a major triad with a major seventh. We do that later in the course. Now, one other thing is that this form, let me take this C dominant seventh chord. This is the C7 chord in root position. Why? Because the root we see is that the bottom? We can do, of course, exactly the same thing as we did with triads. I can take the bottom note, take it up, and I get to the first inversion. The major third is that the bottom. I can do the same trick. Now, g is at the bottom. This is the second inversion of C7. Now remember that with a triads, we had only root position, first inversion and second inversion. But look, when I take the second inversion and I take now the lowest note, by the way, and put it at the top. I'm still not back in root position since the root is not quite low as noted. The minor seventh. So we got a third inversion. This is C seventh in third inversion. When I now do to check again, put the B-flat at the top. I'm back in root position since the root is now my lowest note. So instead of having three positions, root position, first inversion and second inversion, I have now four positions, root position, first inversion, second inversion, and third inversion. We can do, of course, the same thing with a C minor seventh chords. This is the root position. This is the first inversion. Second inversion. This is the third inversion. 3. The other dominant 7th chords: So now that you know the basics of how to form seventh chords, it's up to you in this lesson to form the other dominant seventh chords of the major triads that we know. We didn't nine different major triads. So you can now also form yourself nine different dominant seventh chords rep. The best thing to do is to go up in fifths first. So from C to G, to D, to a, to E, and to B. And then do the scales with flats at a dominant seventh chords with flats, B-flat and E-flat. That's our nine in total. But let me just do one for you so that you have eight to do for yourself. So again, let me do e.g. D, D seventh chord. You know that the D major triad consists of the notes D, F sharp, and a. So we need to add the seventh. Now, the seventh note in the D major scale is of course, C-sharp. But we know that that is the major seventh to go to the minor sevenths just go half tone down. This is the minor seventh in the scale of D major. My D7 squirts or deed, dominant seventh chords. This shirt. Now, an easier way to find the minor seventh is to go from the root. Let me take the root. The root one octave higher than what we started, just a whole tone down. This way, you can much easier, much quicker, find the minor seventh. So what you do is for all the other dominant seventh chords that you are going to derive yourself is to take the major triad. First, take the route to an octave higher, and then go a whole tone down. You have just dominance court had to seventh chord that goes with that major triad. Now, of course, you're not only doing position, but you do also the first inversion, second inversion, and third inversion. Okay, it's up to you now. The answers, you can find them into resources. For reasons of completeness, I will, of the scales of the dominant seventh chords from scales with a root node that is on a black key. So e.g. E-flat seven also put D-sharp seven. Those are exactly the same courts of course, because E-flat and D-sharp or enharmonic equivalent nodes. So the E flat seven chord and a D-sharp seven courts look on the P&L exactly the same. They are the same keys. Only the names of the keys will be different. Now, you don't have to find those enharmonic equivalent dominant seventh chords. But as I said, for reasons of completeness, I included them into PDF file. Now, when you look at the note names of those enharmonic equivalent dominant seventh chords that I also put into PDF file. You might sometimes see very strange notes, like e.g. E-sharp. Now what you note it on the right side of the E, there is no black key areas. An F. I explain later in this course why we call this note an E-sharp. But actually E-sharp and F are exactly the same notes. They're enharmonic equivalent nodes. So when you see E-sharp, that's an F on the piano keyboard. The same way you can say that F flat is an E, but as I said, I will explain that later, which you will also see is double sharp nodes, e.g. C, double sharp. Now, double sharp means that you augmented denote two times with a semitone. Now from C2 times a semitone up is D, So C double sharp is the same note as D. Now why would I call it C double sharp instead of d? Again? I will explain that later in the course. But anyway, when you see those notes, you know what it means? Same as with a double sharps. You could eventually also have double flats. It works exactly the same way. So e.g. E. Double flat is the same note as a D. Okay, so don't worry too much about those strange note names. You don't have to know them now, but at least you know that you can see them in the PDF document. 4. Exercise: The first 9 dominant 7th chords: In this exercise, you're going to train with the dominant seventh chords. Well, the nine different dominant seventh chords that you've seen till now. So those are the dominant seventh chords with a white key route, including B-flat and E-flat. To do so, of course, you go to the resources of this lecture. You download the PDF file and you just click on the link. I'm in a PDF document now as you see, there are two exercises. The first is only root positions, and the second exercise, all the inversions. Of course, you start first with the first exercise, only root positions. So there are nine different questions. The second exercise gets already a little bit more difficult because you have so nine different dominant seventh chords times for different positions. So that's 36 different questions. That might not seem a lot, but can get a little bit difficult. If some questions you have to think a little bit before knowing the answer. Note that it's no problem at all. It's normal. Sometimes you might think, Oh my gosh, this is a little bit too difficult. Just skip the question, click on Next question and go on. The purpose of this exercise is not to get you frustrated. The purposes that you know what courts. So do it just for awhile and go on with all the other lectures. Don't get frustrated. You can always come back later. Another thing I wanted to say is that e.g. you could find a question, a sharp seventh. And you might say, Hey, a sharp, we haven't seen that. Well, you've seen B-flat, B-flat seven. And of course, H sharp and B flat are enharmonic equivalent notes. So that means that if I asked for a sharp seventh, you have to give the notes of B flat seventh, of course. Okay, that's it for now. So do the exercise and if it's too difficult, just go on now. And I see you in the next lecture. 5. The other minor 7th chords: So after the dominant seventh chords, we will do the minor seventh chords. Well, actually you will do them like you did with the dominant seventh chords. So I did already one for you, that was the C minor seventh chord. I will do one more. And I will look at the top segment of the circle of fifths and dare we see a minor. A minor we know, consists of the brain. And we need the minor seventh. Well, you know, you can go with the root and octave and then a hold him down and we arrive at G. So this is a minor seventh and consistent the notes C and the G. Now, this is of course the root position since a roots of the courts is at the bottom. This is the first inversion. Second inversion. Third inversion. Okay? So it's up to you to do all the other minor seventh chords. And of course, as always, I give you the answer so you find them in your resources. So you could e.g. do it in the next order. We did just a minor do for the right side of the circle of fifths. After a minor seventh, you do E minor seventh, done B minor seven, then F sharp minor seventh, C-sharp minor seventh, and G-sharp minor seventh. Then you do the left side. And so that will be D minor seven, G minor seven, C minor seventh. Well actually we did that one already. F minor seventh, B-flat minor seventh, and E-flat minor seventh. Now concerning G-sharp minor seventh, you see it's also quite often written as a flat minor seventh. So it's of course exactly the same notes on the piano, the same keys. But you call them with their enharmonic equivalent names. So perhaps try that also. So it's the same keys on the piano, but try to find the names of those notes in the case of A-flat minor seventh. So it's up to you now. And don't forget to do it in all the four positions. Root position, first, second, and third inversion. And again, you can find the answers in the resources of this lecture. 6. Exercise: The Minor 7th chords: It's time to train the minor seventh chords. Of course, you go again to the PDF file into resources and you find two links. First, you do first the first exercise. Here you click on the first link only root positions and done the second exercise in second link, all inversions. The same thing as was the case with dominant seventh chord is also here. It can sometimes become a little bit challenging. Of course, if you don't know an answer, just skip it or take your time to come up with the answer. It doesn't matter. And if it's too much, then just skip it or do some a little bit and go on with the other lectures. Now you can always come back later. Okay, the next lecture is also an exercise that is a mix of dominant seventh, minor seventh chords. And it's even a little bit more challenging if it's too much done, just skipped and next exercise of course, and just go on with the lectures. Okay, see you in the next one. 7. Exercise: Dominant and minor 7th chords: In this exercise, you're going to train with a mix of minor seventh and dominant seventh chords. Why is this important? Well, because when you read a court sheet, e.g. or a lead sheet, then you also have a mix of different types of courts. So that's why you have to be prepared to see a mix of several courts. Now, of course, I said it already in the last exercise. This is quite challenging, especially when you do a mix of all the inversions. So, you know the recipe, It's always the same. If it's too difficult, skip the question, go to the next one, or skipped the whole exercise. You can just go on with the next lectures, of course. Do first, the first exercise only root positions, and then the second one with all the inversions. And then I see you in the next lecture. 8. Michael row the boat ashore (with 7ths) - Version 1: Okay, I'd like to take you to a song we did already. Michael Row the Boat Ashore. We did with the dry. It's not what I want to do it with courts. I want to add some seventh chords into it and you will see that it sounds much, much richer than with only triads. So let me play it first for you. By the way, not all the courts will be seven scores. It will start as you're used to. So this part is still the same. Here, the F sharp minor chord, I take the F sharp minor seventh. This is the seventh. E is the seventh of the F sharp minor chord. So then the E minor chord, also with the seventh. D is the seventh of the E minor seventh chords. And then a seventh chords. G here is the seventh of the, a seventh chord. Adhere to normal D. So let me play it once again for you. So you hear that it's much richer sound when you add in some courts the seventh. Okay, now I don't have to learn you again, what's the melody was because you already know it. We did it before. So only the courts. So we start normally with it, try it here also with the triads in second inversion, as we did before. Also. And then with the F sharp minor chord, I do the F sharp minor seventh. Well, yeah, coming from here, you would say this is easier. But yeah, it sounds a bit darker because you have the E and the F sharp very, very near to each other. Now, when you take two notes, near two, we get near to each other. They sound better when they're higher. Then when they are in the low region. So yeah, you could take this. It depends a bit. On the piano you're, you're playing, I'm settling some pianos. Did this might sound good, but this is better. Anyway for this piano. And coming from the F sharp minor seventh chord, going to the E minor seventh chord, G, B, D, where D is the seventh. That's not very difficult. You just go down and then the seventh. So g, a C-sharp. So that's in second inversion. Now, could eventually leave out even the a and play only C-sharp. Now you would say, hey, but can I just take out the root of the court? Also in the melody, you don't play it. You don't see node a at all. Well, it is possible to play even without the root in the court. It sounds much more open. Also here, G and D, a, very near to each other. And well, not, not so low as the E and the F sharp, but still quite low. And it sounds much more open when you leave the a out. Now, why can you just leave the a out of the root of the chord? Well, actually the ear fills it in for yourself. Your ear hears in a way, the a. So you don't really need to play it. Okay, let me play it once again. And I will play it without the a in the a seventh chord. And you'll hear that it sounds very nice. So here it sounds much fresher than with the a. Okay, so one more time. The courts de, Justice triad in root position, G does, to try it in second inversion. Vector d in root position than the F sharp minor seventh. As I said, it might sound good on your piano like this, but I think it's better like this. And on the E minor seven, like this. And then the A7, while you can play it with the a if you want. But as I said, it sounds very nice if you play it without the root. So that's the second inversion, but without the root. And I'm back to the D triad in root position. And that's the whole song. I don't pay it now with metronome, because we did it already before. You put your metronome, of course, you start slowly and you slightly increase the tempo. 9. Michael row the boat ashore (with 7ths) - Version 2: Okay, in this lecture, I show you the other version of Michael wrote a boat ashore, like to try it into triad lesson. When we get to Michael wrote about a short version where in the left hand I play only the root of the court, and in the right hand I play keyboard and melody. So we started in the same way. So this is still exactly the same. But then the F sharp minor chord, I make, I add the seventh. And this is the F-sharp minor chord with the melody note. So the a as the top note, and the E is my seventh. And then I could add also the seventh. And the F. This, I mean the a seventh chord and a D on the end. Okay, there are several ways to play it. Again, I could sometimes even leave out the, the root, e.g. in the F sharp minor seventh chord, I actually I have the root here in the base, so I don't have to repeat it here. I can just do this. This would be the F sharp minor seventh chord. Where in the right hand I don't play the road because I have it already in the left hand. So coming from the, the F minor, F-sharp minor seventh chord. And then the E. I can add the seventh year. And then, and then the A7. I can actually play it with my left hand here and G here. And in the right hand I can play. So that's DEM, a court's only in the first instance. I don't play the E because the F sharp is in the melody and then the ys in the melody. And then back to the d. I could eventually also leave out this a here that it sounds much fresher, much more open. I can play eventually this with my right hand. So play with my left hand only the a. But I can also play the seventh. So to g of a sevenths. G is the seventh of the a chord with my left hand and then play with my right hand only those two nodes. And then vector d. So there are several ways to play it. Okay, let me play it once more. And as said, you can choose, if you play double nodes or only single notes in the bass. That's up to you. What's easier for you? And you can choose a bit if you want to add the route also in the right-hand or not. Okay. Let me play it again. Perhaps you noticed that when I went to the E minor chord, that I didn't play. But I played this because the seventh is later in the melody. Melody. That sounds perhaps a little bit more open, but it's up to you. You can play it. Okay, So practice well and have fun with it. 10. Michael rows the boat ashore (with 7ths) - Accompaniment: Yeah. Again, Michael wrote a boat ashore. The fifth time you would say, why do we need so many versions? Well, actually, we have played the whole time the melody, but when you accompany a singer, he will not play the melody. So I wanted to show you also, how can I accompany a singer with this song? So actually, what you need is all courts. You don't need to melody. So what you could do is with the left-hand play, e.g. the, the roots and with the right hand, the course. So e.g. so that's very quickly. So yeah, as you know, I cannot sing very well, but I will try. So my yeah, that's the right tone. Michael Row, the Boda. Sure. Yeah. Etc. So here, Yeah, you could. If you play this, you have also the, the seventh of the chord. So the seventh is one of the F-sharp minor chord. Yeah, I play the G in the base. You could play, it's officially, of course, E minor seventh chord. As I told before in one of the lectures, it's nice to go from the F-sharp to G. And then today, but if you prefer to eat, you can pay the E. So that would be so again, the D chord, the G chord vector, the D chord. And then F sharp. Either you do it with a child or you play the seventh chord. This case, I only need three notes in the right-hand because in the left hand, I also have, I already have the root. So I'm playing for notes here. Either to the e in the base or the G and the a when you played as it try it. And if you want to add the seventh, and then here, whatever you want. Now, of course, you can play it in a lot of ways. You're not obliged to play. You can also play it here. And then the F sharp minor seventh, E minor with a G in the bass. And you can play the a while in several ways, the same way as before, like here or here. And vector d here. You can play it even here. So there are lots of possibilities. Now, you don't even have to play this rhythm. You can pay it in a totally other way as long as you stick to the courts. E.g. That's also a way. So you have lots of ways where you can choose from. And again, I play this, but it can also played this one. My cool, the boaters, shoes, etc. So be creative and try to find your own way. There are even more possibilities. You can just do very simple like this. My goal, row the boat is sure, Holly, et cetera, that I'm done. So you choose your own way, be creative, find your own way as long as you play the courts. And as I said, you don't always have to play the root. You could add in the seventh. In those courts that I mentioned or not. It's up to you. 11. Hey Jude in F major: Okay, I will show you how to play, Hey Jude from the Beatles. Okay, let me first play it for you. It's restarts with diverse. So that's, I played only once diverse and once the course. And I get a little beginning of the next verse. So let me start with the verse and let me start with the right hand. I will first play the right hand to hold verse. Okay, It's quite long, so let me break it up in pieces. So let me do the first line. So that's a CD. And I will do directly the second line. So that's G, a, B-Flat, C, D, C, B-flat a. So let me play those first lines. And I will do it with the metronome. I put it at 74 beats per minute, the same tempo as we use in the next lecture when you're going to play with the band. Oh yes. Also an important thing is that it starts the sea on the fourth beat of the measure. So actually you have to count like this, 123412, etc. So you will hear the metronome count to three and on before I start to play the C, and then the a is on the one of the next measure, 1234. Okay? So that's the first line. Then the next line. So that's c, d, d, d, d. And then the last line. So for this part, F, G, a, C, and the last part, C, B-flat a. So let me play the whole verse with the metronome so that you get, so that you get a feeling for the rhythm. 12341. So that's the right-hand diverse. Now, the left-hand. It started as follows. So you start with the courts f. To try it in root position. And it starts at the first beats. So you remember that the sea was on the fourth beat and the a was on the first beat. And together with the AU starts with the left hand with the chord. The next chord is the C. In first inversion. There, a C7. The B-flat is the seventh of the C chord. So when I be done again in root position, now this is a B-flat, dry it in second inversion. So again, F in root position, c. And again. Now you see for your timing, of course, you should first learn very well how to play the right hand with the timing with the metronome as I did before. And if you don't remember, you can always go back. Actually, the left hand is always in the verse, the first beat of the measure. So it's actually 1, 2 3, 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4, 1 2 3 4, 1 2 3 4, 1, 2 3 4. So the left-hand always starts on the first beat of the measure. Oh yeah, by the way. Last see I play, you could eventually play that also with a sevenths. So let me play it one more time, but with the seventh in for that last C chord, C7. So that would be normal. So the seventh now, actually I think it's better to pay the seventh year because it's also in the melody. Played this B-flat. Okay, So that's the, that's the verse. Let me play it one more time with the metronome and left and right hands together. Oh yeah, you start, of course, to learn the melody first in your right hand. The lower tempo slightly increase the tempo. Don't go more than 74 bit beats per minute because that's what you're playing with the band later. Then you start to do the left hand. That's easy, always on the first beat of the measure. And then both hands together. Okay, let me start 1234. Okay, let's move to the course. I will first page for you. So actually, this thing is, this part is repeated. And then there's the ending line of the chorus, which has. And then you go again to the ferrous. So that's the course. So let me break it up in pieces. As you saw, there is a part which is repeated and then there's a sort of ending line. So first, the melody with the right-hand. Now, you might have noticed that I started to play the seventh chord in root position, and then I started to play the melody, et cetera. So that's important to know. I will now do only the melody, but we will still start with this first court, just for the timing. For the rest, I don't play any other course courts. So the whole first part of the course I will play. This whole part is repeated. So what did I play? An octave higher? E-flat, B-flat, D. I said that's my first line. Then you go on with F, B flat from the beginning. Then you go, when you go on with, let me first page. C, B-flat, C, D, C, B-flat, a. So that's the whole first part which is repeated of the course. Let me do it with the metronome. And I start with this first seventh chords, just for timing, 12341. So that's the whole first part. Again. That's all I repeated it already for you. So this first part of the course is repeated. And to accentuate the first beat. I played this F7 chord for, you know, the last part of the course is this melody. Only this line. So what did I play? C, D, e flat, E flat, F, G. So let me play. The whole core is now with the metronome. And I play for the timing. This first F7 scores on the first beat of the measure, 1234. That's the right hand, the course. So now the left hand. So as you saw you, we start with an F seventh chord in root position on the first beat. Now, I will play left and right hand, but concentrates on the left hand. I only play the right hand. So the key here is the melody with it. You know, the melody now concentrate on the left-hand. Okay, I made a little mistake in the rhythm. Let me do it again. Okay. So which courts are day, as you noted, first one isn't F7. Then B flats in second inversion, d minor in first inversion, G minor in root position. C, first inversion, dry it. F triad in root position. Same thing again. Have seven. B-flat, D minor, G minor, F, F7, C7 in second inversion. And that's it. Okay, with the metronome now, 1234, bec, et cetera. I beg to diverse. Okay, so that's the whole song. You know how to go back from that course to the verse that's like as follows, etc. That's, that occurs only one time if I remember well, in the song. Other times there is a sort of intermezzo, very short. And then it goes to the verse again, but you will hear that in the next lecture. Okay, practice well, first right-hand, first diverse than left-hand verse. Tried to pay them together, it's likely increase the tempo. Do the same thing for the chorus. And if you're ready, then go to the next lecture and play it with the band. 12. Hey Jude - Playing together with the band: Hey Jude with the bent fairs the structure of the song. The verse is played twice. Now, very important, you are going to play totally on your own. Well with the metronome. So there is no bend for the first two times that you play diverse. Well actually, in the second verse, there is a strings starting. But for tourists you have nothing. So you have to rely on the metronome. So while you will hear it when I play it, but you will have to follow very well the metronome, otherwise later when the band starts, you're not at the right moment. So you will have to practice that very well. So that's one thing. So twice diverse than the chorus. In this last verse. In the end, drum and the bass start to play. And in the chorus that follows, the whole band is placed and from that moment on, the band stays with you. After the course is an Internet. So after the Internet, so diverse. Again, the chorus, the intermezzo, and finally, onetime diverse. And there's a little outro to the bend place. A few important things I have to say before you can play. First of all, remember, well, the metronome starts with 1234 and you start to play the C on beat four, C for one. That's one thing. The metronome, 74 beats per minute, Don't forget. Then. Third important thing, the internet. So now it's quite difficult from the intermezzo to start at the right moment in the verse. Now, I will have to let you hear that's part and very important in the internet. So the last node that is played in, you don't play it, but with the band plays, the last node that the band plays is count one. So from there on Yukon 1234 and under four, you start as usual with the sea to play diverse. So good. Last note that the band plays from the Internet, so it's kind of one. And you count 123. Hey, Jude, et cetera. 12341. Okay. Let's start. Oh. 13. Hey Jude - How to accompany a singer: Okay, when you're playing with a singer, then of course you don't need to play the melody. You need to play only the courts. So you could do with their left hand, the roots of the courts, bass notes, and with your right hand to courts. Now, that's what we're going to do in this lecture. So how does it work? Well, actually, you start, that was what we did when we play the melody. So we started with an F chord. Now, how would we play it when we play with a singer? Well, an idea which play would be to play with your left hand? One or two F's. I will only play one. Now. Play it. The F chord in the right hand, e.g. like this, and left hand here or here, it doesn't matter. The bass note. So the root of the court, a way of doing it. There are many ways of doing it, but a way of doing it is to play like this. He don't make it, etc. Note, please don't judge my sing. I'm a very, very bad singer. So if I don't sing very well, Don't judge me for that. Hey, Jude. Don't make IT band. Take a sad song. So this is the C7. Then. Where are you aware takers song and make it bad. Remember, ladder into your heart. Then you can stop Howard to make that or Hey, Jude, and then you restart. Differs. So what did I do? I play it so with my left hand, that's obvious. I only play the roots of the courts. So that's what I do for the F chord. So the FAA, and then to C. And then with a C chord, E, G with a C. Then when I have the C7 chord, I could do this. What's that? It's E, G, B flat, and C back to the F than the B flat chord. So that's F, B flat to D, back to the F and a C7. And that's the whole verse. Then the chorus. How is that? So that starts with an F7 chord. That was so that would be, well, you can play it like this. The data, the data, data. Now, so that's E flat, F, a, C, and then B flat, then the D minor, and then the G minor. So what did I do? So let me start from the beginning. The F7 be flat because it's F, B flat, C going to D, D minor, FA, going to be G minor, so that's G, B flat, D. And then the next score was the C. Well, you could know you're here, it's perhaps easier to go here. Gc, and back to the F. Then the second time. So when you repeat the same theme from the course back to the seventh, so you repeat the whole same thing. Then you have that last line in the chorus. Which was nice. The seventh and the C7. That's it. It's done. Oh, I'm really not good in singing. Oh, that's too high. Now, you see that I didn't play the left hand now because there's a little special thing. Normally, we play always the root of the chord, and we start also on the root of the chord. The first was the F7, so I play the F, B flat. And now you would expect the D minor and then the G. But it's much nicer when the line is a descending line. So from the B flat to the a, to the G. So that's when the D minor chord is sprayed. You don't pay the D, but the a. As you know that a is in the D minor chords. The D minor chord is D, F, a. It's no problem to play the a in the bass. Listen how nice that sounds. So instead of the d, we will play the a in the bass. So from the beginning, that will be the beginning of the course. And then to the c, f, we repeat the same. Still. See, that's the whole course. And that's actually the whole song. So when playing with a singer, you could play this. There are other possibilities, but for now, I would just stick to this form. Now, in the next lecture, you are going to paint with the bend. Again. I put a melody on it also. So if you don't have a singer, you have at least the melody. Actually, I put two versions, one with the melody and one without, really can spray with a singer. Or if you are a good singer that you sing, sing it to yourself and not the melody is not in a way. So two versions, one with the melody so that you can practice with, one without the melody so that you can sing with it. One more little thing. I talked about this descending baseline. Now it would be nice to descend even more. And that is what the Beatles do sometimes, not the whole time. They put an F chord in it. And then they go to the C chord. And in the secret, they don't play a C in the bass, but an E. You have the whole descending line, B flat, a, G, F, E. Now, I don't do it here. I just wanted to let you know that The Beatles sometimes do that in some places in that song. Just to have this nice descending line interface. Just for you to know. Now, don't change what you just learned. Keep it simple, keep it as I told you, just so that you know that those descending baselines are actually very nice and quite often used in music. 14. Hey Jude - Accompany a singer with a band: Hey Jude, how to accompany together with the band. Now, there's not much to say. Most of it, you know, already in the previous lectures, I gave already a lot of information. Only really important thing is that you start, you don't start like with the melody with a C. So not on beat four, but you start just after a beat one. So the metronome does 1,234.4. You play nothing. That's the melody, but you don't pay it. It played when you accompany a singer. And just under one, you start. You will see, There we go. Hello. 15. Diminished chords - Triads: Since this section is about seventh chords, I also wanted to include diminished seven scores. But before we can speak about diminished seventh chords, I should first say something about diminished triads. But first of all, let me first look at the triads that we already know, and especially between the intervals of the notes into triads. When we look at a major triad, e.g. C. Major types than the interval from the first order routing to the third major third is that of a major thirds. That's what we already knew. That's for half-tones from c344, half-tones from the second note of the chord, which is the e, to the third note of the chord, which is the G. It's only a minor third. How do you know that? Well, you know that in E minor, the minor third is the g. You can also say 1-3 half-tones up. Again. In a major triad. The interval between the first two notes, instead of a major third. And the last two notes is that of a minor third. How was that in a minor triad? Well, let me take C minor. The first interval between the root and the minor third is of course, a minor third interval. That's from c123, half-tones, from E flat to G. Well that's a major third. How can you know that? Well, first of all, in the E major scale, G is a major third. But you can also say from E-flat, It's 1234 half-tones up. So in a minor triad, the interval between the first two notes, instead of a minor third. And the second two notes is that of a major third. But instead of sticking first a major third, and then a minor third, or first, a minor third, and then a major third. What's stopping me from stacking e.g. two major third intervals or sticking two minor thirds intervals. Let me start with this first one. When I stick two major third intervals from C major third up is, as we know, E, from E, a major third up. Well, either you look in E major scale, what's the major third and E in E major, G-sharp. But you can also say, okay, I go from E four half-steps up. You can get it also from C, first four half steps up to E, Then 1234 half steps up to G-sharp. Know this court that I built by sticking to major third intervals is called C augmented. And to G-sharp, we call it D augmented fifth. And the interval between C and E, G-sharp is the augmented fifth interval. Now perhaps you remember that when I was talking in this section about intervals, that I would talk later on in the course about augmented and diminished intervals. Well, here you see for the first time the augmented interval. And a few lessons later, I will tell a bit more about augmented and diminished intervals. Now why didn't I call this note the minor sixth and D interval between the root and this note the minor six interval, because that's what we learned. Well, because we were stacking 3rds, in this case, two major thirds. Now, when I say thirds, that means that from the original notes. So let me say from a third up, I need to do third letter after C. Now when C is one, D is two, E is three. But what I do the same thing from E. I go up three notes, then I need the third letter after E. When E is one, f is two, G is three. So I need to let her GI earlier. I don t have G, I have G-sharp. So that means that I cannot call this node a flat. I have to call this note G-sharp. This also means that when this node is the fifth indices augmented chord, that I need, the fifth letter from C, C, D, E, fg12, 345. So it is something with a fifth and not with it six. So that's why it's an augmented fifth and not a minor sixth. But I will not talk too much about augmented chords because they're not very much used in popular pop. Rock, blues music. I will instead looking at stacking now two minor thirds on top of each other. So from C, a minor third up, you know, that's E-flat. But you can also do half-tones. 123 from E-flat minor third up. Let me do it now. Three half-tones, 123, I go to G flat. Now why don't I call it F sharp? Well, it's exactly the same thing. It's the fifth note, because I went to third sub two minor thirds in this case. So this has to be something with a G, one router done with F, so it's a G-flat. Now, remember that we call this interval triton interval. But in this case, I want to call it something with fifths, because this is a G flat. G is the fifth letter seen from C. This is a diminished fifth. And also here I will talk more about the diminished fifth, diminished fifth interval. And that's the interval from the root, in this case C to G flat. I will talk more about the diminished fifth interval, some lessons later when I talk more about intervals. Now, we call this court this triad. Diminished triad. C, E-flat, G-flat, root, minor third, diminished fifth. I will give some more examples. Let me say, I want to note that G diminished triad from g, go a minor third up. If you don't remember, that's B-flat minor third in the scale of G, then go up 123 half-tones. Another minor third from B-flat three takes me to D-flat. G diminished. Try it. It consists of the notes G, B flat, D flat, which are the roots minor third and a diminished fifth. Another example, half-diminished from F, go minor third up 132, A-flat, A-flat go another minor third up, 123. That's B. Only. We don't call it B. Why not? Well, remembered that I said that I need to the fifth letter, 12345 from f12, 345 from F is F, G, a, B, C. So that means that this node has to be something with a C. Well, the only way that icon can call this note something with a C is to call it C flat. Now that seems very strange, but remember that a few lessons ago, I talked already about those strange note names. Well, here you see the necessity of calling this node C E-flat instead of B, because it's the fifth node seen from F. In this case, the diminished fifth. F, A-flat, C-flat are the root, minor third and diminished. Again. So it is known now in this case not a, B, a, C E-flat. One last example, the E-flat diminished triads. We start on E-flat, that's our root. We go up a minor third, 13 to G flat. From G-flat, we go another minor third up 123 to a weight. We cannot call this node a. Why not? Because seen from E flat, it has to be the fifth letter. E flat is something with an e. Then that's the first one is one. F is two, G is three, a is four, and b is five. So that means that this node has to be something with a B. Well, the only way that this node can, can, can be called something with a B is to call it B double flat. And remember that we have seen double flats just some lessons ago in the PDF file with the dominant seventh chords. So E-flat diminished triad, B flat is the root. G-flat is a minor third, and B double flat is a diminished fifth. You know that the 5th scale of E-flat would be B flat. Diminished fifth is a halftone lower than the fifth. So we add an extra flatten so it becomes B flat flat or B double flat. Okay, I've shown you now some examples of diminished triads. In this way is very easy to find other diminished triads and you can do it yourself, of course. In the next chapter, we're finally talking about diminished seventh chords. 16. Diminished chords - 7th chords: Let's now look at the diminished seventh chord. Seventh chord. So we have to add the 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 and top of each other. Minor third. Minor third. I will now again put a minor third on top of the F-sharp. That brings me to a. This is C, diminished seventh chords. Is the root. Flare is the minor. Third. G-flat, the diminished fifth. Yeah, what is that? You would say the sixth in the key of C because it's the sixth note, 3456. But this is a little bit of special note when I will apply the same rule as what I did before by saying from C, E-flat, G-flat instead of F sharp, because it's the fifth letter. Fg12, 345. The seventh should be the seventh letter after C. So that's b123 4567. But it's thought to be at. So that's why this note is actually not an a in this case, but a B double flat. Well, that sounds very strange. A 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. A C diminished seventh chord consists of the minor third, diminished fifth, diminished seventh. There's more special about to diminished chords other than having a double flare that note. Let's look e.g. at D E-flat, diminished seventh chord from E-flat minor third up to G-flat is a minor third up. Well, we now know that it's a B double flat and not an a. But when I go now, a minor third up, 123, I arrived at C. And again, I may not call this a c in this case. Why not? 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 this is something with a, b. I have to go B, C, D. Note should be something with a D. Well, it's a D double flat. 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. Take the lowest seat, 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 scroll is E-flat, diminished seventh chord or first inversion of the diminished chord. It's the same. Let me E-flat. Now on time, do we have this course? So this could be either the second inversion of the C diminished chord or the first inversion of the E-flat diminished chord. But let's look at it from the point of view of G-flat, 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 the diminished fifth. And another minor third up 123, takes me to this node. So this is the F-sharp diminished chord, or the G flat is a diminished chord. And that's exactly the same as the first inversion of the leaflets diminished chord, or the second inversion of the 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 it from the point of view of the a, the a is then the root. I have now the eighth, 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, eight up an octave, I have again the C diminished seventh chord, 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 inversions of each other. This is really a very special characteristic of diminished seventh chords. Now, let me go back to the C diminished seventh chord and let me put all those notes of this court a halftone up. I don't have this chord. So actually, this is C-sharp diminished seventh, or D flat diminished seventh. When I do the same trick. So putting the lowest note on top, I now get E diminished seventh, which is exactly the same court as C sharp or D flat diminished seventh. I 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, B flat or a sharp diminished seventh chords. They're all the same courts. Okay, where were we? We went to the C sharp seventh chord. Let me go up another halftone. So all the notes up a halftone takes me to the D 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, G-sharp diminished seventh chord. This one up an octave. The B diminished seventh chord. They're all the same chords from our starting point. Now, the D diminished seventh chord, when I now go up half a tone, I'm an E-flat diminished seventh. And that was from the whole series of diminished seventh chords where we started with C. That's pretty sharp. Diminished seventh. Sharp diminished seventh chord, 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, F sharp, or a. This one's starting on C sharp or D flat. And this 13 different types of diminished seventh chord and 12th different types. So that's also a very special characteristic of diminished seventh chords. There are only three different diminished seventh chord. So we're going 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, e.g. F. 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. This is a flux 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, e.g. or this one, or this one, et cetera. Okay, see you in the next lecture. 17. Intervals completed: Until 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. Now 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 all the intervals that exist an older names. So what we will do in this lesson is to make a nice overview in a table with all the intervals and older, older 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 don't worry about the difficulty of all this 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 the number of half-tones, whole tones, et cetera. In the third column, the names of the notes in the interval. The fourth column, I will put the name of the interval, whether it's a major, a 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, when you 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. So let me start by putting the image of the piano with the unison and the number of tones. The other columns I will fill them in later, so the name, etc. Now as you see in the image, I've chosen to take the interval between the notes C and C, which is zero tones. Of course, all the other images will always have the interval from c to the other node. So this table will contain intervals from the notes C. And of course you can make the translation to other nodes if needed. And you can use the technique that I showed you in this section about intervals where I showed you how to do it from the node a and which you can apply to make intervals from any node. So on the second row, we will put the next image with the integral of a halftone. And I will continue in this way. So here's 1to1, one-and-a-half tone, two tones, two-and-a-half, three, three-and-a-half, four, four-and-a-half, five five-and-a-half, six. 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 note names from C to F sharp or from C to G flat. I will split this row into two rows. So the first one will be from C to F sharp, and the second one from C to G flat. Now from the lesson about diminished chords, you know that the integral from C to G flat, that we call it a diminished fifth. Diminished fifth, because of fifths, is from C to G. Diminished because it's a halftone 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 a halftone 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 this 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 tri-tone. Tri is three. So this interval 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 chords that we call this interval also a diminished seventh interval. But in that case, we didn't say a for that note, but B 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-slit. 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 for, 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 that 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 and diminished fifth. Let us now look to the very first column, so zero 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 in the lower column? Well, you can make that the interval between c and d double flat. As you know, d double-slit 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 see, it's sort of seconds interval. What kind of second interval? Well, remember that the integral 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 it the interval between C and C sharp. And in the lower column, the interval between C and D flat. Now, when it's the interval from c to d flat, we know that we call that a minor second. So what's the interval from c to c sharp cold? Well, it's a halftone 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 halftone. Okay, in the image below, when we split the column into two, we can first mentioned the integral from c to d, as we're used to. In the lower column, we can put the interval from C to E double flat. Now from C to D, We know we call that a major second. So what's the interval from C to E double flat. 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 E, double flat is a diminished third. And for this interval, we also know the alternative name. It's a whole tone. 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 ease and 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 zero half tones determine unison. 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 halftone and whole tone. So as we were already used to. So that's easy. Then below that, of course, the minor third, major third are very important to remember. The perfect fourth is important, which I will mostly cold just forth, as I said before. The diminished fifths, the tri-tone, the perfect fifth, or just fifth, diminished seventh, minor seventh, and the major seventh. And of course, the octave. Now I hear you say, hey, but all those intervals that are just the integrals will already knew before we started all this theory. Yeah, it's true, but I think it's still important that you saw once we come to those names, diminished, augmented, etc. And it's to have an overview of all 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 the mole only the intervals that, that just mentioned. And you can just use the PDF in the resources for an overview into future if you need it. So that's it for now and see you in the next lecture.