Your First 5 NEO-SOUL Chord Progressions

1. Trailer: Hey guys, thanks for checking out my courts. This is Simone. You may have seen me as the bear guitarist on Instagram or Youtube. I'm a musician and content creator based in London, UK. And after over a decade of guitar teaching in the last few years, I've spent my time creating lessons on Youtube and Instagram content, as well as a full R and B and Neo sole acoustic guitar course, and other exclusive lessons on my Pat. In this course, I want to teach you your first five neo sole court progressions played on acoustic guitar finger peeking. Now don't worry if you've never played finger peeking or neo sole before, we'll be covering everything you guys need to know from the court positions, embellishments like hamerons and pull offs, as well as all of the finger picking patterns and even the music theory behind each and every core progression. For each of these five levels, you will first learn the core progression. And then there is going to be a full breakdown that you can use over time to review the core positions, the techniques, and the music theory explanation with keys and red numbers as well. There are other resources available to download like the full tab of every core progression and the full harmonic analysis with red numbers on top of each bar. I'm excited to teach you these five core progressions, and I love that these will be your first five Neos core progression if you are in today's style, if you want to learn the secrets behind jazzy chords and finger picking patterns, join me in this course and I will see you on the inside. 2. Level 1a: Right guy. So in this very first chord progression of this chord, we are going to have a look at three chords that we can play, finger peeking, using mostly the orpagous technique. We're going to get started with the same position played twice. We're talking about a D minus seven barkard that you can play with a bar on the fifth fret. The root is obviously on the string and you're going to be using shape of the caged system. It is literally the same as moving in seven shape. Now you're going to be playing this chord position here and then move it two frets across. Effectively play the same shape in the key of playing minus seven. The last quarter we need is a simple minus, where we'll be playing around as two as well by simply removing the first finger from the A minor in open position. Now what we're going to be doing with the right hand on the D minus seven is going to be a four nor pago, which you could possibly play thumb, index, middle, and bring starting on the string A. And what I like to do on the B string, which I play with my ring finger, is a hammer on pull off with my second finger here on the left hand. That means you effectively start with this position without the finger down, You play the B string, which is going to give you that sort of ninth type of color. Then you hammer on the finger and you pull it off, and you continue with your pago, this time descending, which means you're going to be using the G string and then the D string and finish where you started from, which is the root D, okay? So altogether your pago goes, then you slide to your minus seven. This time you start with the thumb, playing two strings in a row. You do thumb, thumb on the fifth and fourth string, then index on the middle of the B and ring finger on the first ring where you'll be doing the next hammer pull off, which is going to be with your pinky, it's going to be seven to ten and back to seven basically it will, then you will continue with descending or pair string. You will go, all this is counted in 16, which means that the D minus seven will take two beats, and the E minus seven will take two beats for a total of four beats in 44. Then you go to your A minor in open position. I suggest this grip where you use your thumb on top to mute the low E string and get this stronger grip you play. Four are pages as well, starting on the string in a row, so you do, you do one percussion with all of your hand on the strings to make sure that you stop the sound of the chord and you simultaneously create a percussive approach. Immediately after the percussion, you play the bass note again, and you pluck the next three strings all together. But when you do it, you remove the first finger. So effectively you hear a sus too, and you create this melody together. And you put your first finger down again, and you play only that screen, which is the string, with your ring finger on the off beat number three. Before playing the final percussion on four, we use the percussion mostly on beat 2.4 like the snare of the drums. And then after this percussion on four, I like to play two more notes, the spring and a spring, index and thumb on the second and third, 16th note of the beat. Four, slowly it goes. If I combine this with the other two charts, we get this. And obviously you can look this as many times as you like. You may have noticed at the beginning of the video, I was also playing a very short melody. A pup line, which I played on the note C played on the sixth string and then fifth. Doing this sort of intro, think of this as 23, and now let's listen to the call progression, A Dutch Quicker. 3. Level 1b: Okay, so now we're going to break down the core positions, the finger picking technique, and also the music theory behind the first core progression that we just learned. So in terms of chord, we were using three chords, D minus seven, minus seven, and a minus. Now, a minus is a simple open corner. Most of you will already know D minus seven and minus seven are minus seven chords. They actually come from the shape of the caged system. What does that mean? That if you take a minus, particularly you take a N minus seven, so you remove your ring finger. You essentially play this position with two fingers only. You can basically re finger this chord with 3.2 and move it all across the fret, using your first finger as a bar. As the start of the guitar pretended, the guitar starts from there. And essentially use this position wherever you like to play any other minus seven chord position you like. So this is where the D minus seven and minus seven actually come from. In terms of finger picking technique, we are mostly using our pages, single notes that you can play this way, but we are already introducing a very portant cliche of R and B and Neosle guitar, which is the use of hamerons and pull offs on the first chord. You are doing this with your second finger on the second string on the second chord, you were doing this with your pinky on the first spring. This way for the A minor. We also touched on the A two by removing the first finger. Basically guys, when you play a two chord, it means that you don't have the third in the chord and you replace the third with your second degree, Hence two on that a mind together with playing single not or pages. We were also introducing the percussions. So the use of your hand on the strings for the sake of stopping the sound of the chord and also creating a perci groovy sound, which is usually on the Beats 2.4 like the snare of the drums. And also plucking some of the strings simultaneously, like when we were doing this index metal and ring playing together. So the plaquing technique together with the R pages, all these three chords, all these three min, minus seven chords are in the key of A minus, obviously A minor is the one minor chord, which is the tonic chord in this key. And D minus seven and minus seven are the four minor and five minor. Also the three notes that we play as a pick up melody. They do belong to the key of a minor. You can think of them as three notes of the A minor pentatonic scale, just to introduce D, which is the first root note of the first chord in the progression. The key of A minor is the relative minor of the key of C major. If you guys are more comfortable numbering the chords in the key of C major, which is exactly the same, thing, you can think of them as the two minus, three minus to six minor. 4. Level 2a: So here we are with a new core progression. This time we are going to get started with a F major seven, which looks like this. You're going to need your rootne being on the foot number eight of the string. Now in theory, when you play a major seven chord, you can play that as a barker. So use your first finger as a bar. But in fact, when you play finger peeking, if you're not going to hit the first string, you don't actually need a bar. And therefore we're only going to be using this as a single note, okay? So the frets that you use are 810910 starting on the string. This chord will also be played at the very end of the chord progression as a C major seven. This is exactly the same shape, Okay? So you're going to start on the F major seven and finish on the C major seven, where the root is the note C on fret three. In between, you're going to be playing two minus seven chords that you guys already know. The minus seven and the D minus seven that we learned in the first court progression. Okay, so they are obviously coming from the shape of the system. As well as the F major seven, C major seven, they also come from the system, from the major seven. Okay, so with two seventh court positions, you'll be able to play the entire court progression. So the course will be F major seven minus seven, D minus seven, and C major seven, 1 bar each in 44. Now on the F major seven, we start with this pattern. Now we start with a dot date. 16th, you play on the first and four 16th, note one casing on two. Then you move back to the threats to the previous code, which is E major seven. Just as a chromaticism, as an approach, as a slide embellishment to the F major seven. You do thumb on its own, plug the next three strings and slide without hitting the strings again with your right hand onto the F major seven. That's the counting behind this pattern on the beat number three on the off beat, on the third 16th, note you the top part of the chord, so three strings again on the round play another percussion. And then on the second 16th of this beat, number four, you hit the D all together with a P. But this time it's going to be a really short plaque, which we call act. This is how the first chord sounds like. It already has a few nice interesting things like the use of the plaquing technique, the percussion, and also slide embellishment and a staccato. Then when we move on to the E minus seven, we do a similar pattern to ten, which is plug the four springs, the puck on three percussion and on the offbeat number two, you plug all of the cord again to then on the beat number three, you're going to hit with your ring finger, the first string, but this time you're going to do your hammer on, pull off, followed by a single note on the string. Okay? I like to play the first room with my ring finger and the second room with my middle finger. Then I do my percussion on four and the usual two notes on the second and third 16th note string and a string, index and thumb. I move to the D in seven. This time I don't do any embellishment on the seven. I play the pattern pretty straight line, which is 1.2 310. Pluck only three percussion. All of the chord again, only three. Once more percussion. And all of the chord as I stick out on the second 16th note, and you repeat the exact same pattern on the last chord, C major 712310. Or if you'd like to count everything in 16th notes, 123, which is the same thing if you don't want to make 16th notes and eighth notes in the way you count it. If we try nice and slow, the whole chord progression, including the embellishments like slides and hammer ons, pull offs, it sounds like. So basically you guys, you may have noticed that when I finish with my C major seven, I slide all the way back to F major seven to create more of a legato. 5. Level 2b: Break down the chords and the Music theory behind the second chord progression, we got to say that we use only two chord positions. They come from a major seven. And the two shapes that we use are major seven and C major seven. And they also come from a minus seven, as we know, in order to play minus seven and minus seven. So they all have the rootnode on the string. They all belong to the same key, which is the key of C major. The last chord, C major seven, is the one major seven. It is the tonic chord in the key of major, and all the other chords are diatonic. In this key, we start on the fourth degree, which is the F major 74 major seven chord, down to the three minus, minus seven, down to the two minus D minus seven, and finally back to the one major, which is C major seven. You basically go from the four chord down to the one chord passing through all of the cores of this key. The techniques that we have used are mostly the plaquing technique combined with the percussions and also this cool groovy and juicy lid to get into the first chord, the F major seven. But also the hammer on pull off that we can play with the pinky on the first spring on the E minus seven that we also learned in the first chord progression. As always, we also like to create dynamics by alternating a long legato sound with a short staccato sound like we do at the end of the D minus seven and C major seven, but also the F major seven, to move on to the next chord. 6. Level 3a: This is going to be a slightly longer progression where we are going to get started with a C major seven playing with a new position. Routing the C on the string. Threat number eight. Then you don't play the string and you play 9.9 on the DNG eight on the. So you get this position which doesn't require a bar. What I would suggest is to keep your fingers facing you, the thumb all the way up here to get the best grip. You play this with a simple Pago in 16, basically doing one up and then a percussion on two. As always, after the percussion, you're going to get two ghost notes. Okay? Which is basically the same as what we were doing before. Playing two extra notes after the percussion on the G and E string this time. So index and thumb. The difference is when you do it, you remove the pressure on the left hand so that you essentially get the ghost notes. Sound Okay, it's worth noticing that in this co progression, we're also introducing the RMB field. Which is essentially when you play the 16th notes with a little bit of shuffle or swing feel to it, this can away. Then you immediately move to the B note, which is one threat, but fret seven on the string and you play a B seven, but it's a special B seven, it's a B seven. Alter the seven sharp five, you're going to be playing this way. First finger on fret seven of the skip the as always. Then second finger on fret seven of the D, then ring finger and pinkyret eight on the G and B string 7788. And you do this, the same button with the same ghost notes, to then go to minus seven, which is going to be the usual barked coming from the shape of the system that we played previously. Even here we play a four note or pago, thumb, index, middle ring. Starting on the string is obviously the root to spread seven on the eight, but we do a hammer on, on the second string. This way before the percussion, we don't do the pull off, it's just a hammer on this time, this way. So with the usual ghost nos at the end which are going to be on the G and a spring this time still index and thump. So once more, so far we get okay. Then we are ready to move on to two new chords that we play with a plucking technique on the downbeat number 3.4 of this second Bob with a short staccato. Sound First chord is D minus nine this way, which we do with fingers 2134 on fred, five on the 355, on the B this way then you keep the pinky down. This is going to be your anchor. And you play a 13, which is a dominant seven, extended to the 13th. And you do it with fret three on the string, which is obviously the root. Then 34 on the G and five on the B you go. It may require a little bit of practice, but once you use your pinky as an anchor to keep down between the two chords, it's not so difficult to get from D minor nine to 13. They obviously share the top note here on fret five of the B. So far we get very important that you play those two staccatos on D minus 913. Then you start again, same two chord, C major 77 sharp fight. But then you move to an E minus nine, which is the same as the D minus nine, simply played with the root fret seven on the eight. That's basically D minus nine. Moved two frets across, you do this pattern that we learned in the previous progression up playing four springs and then three per you move one fret back to create the chromaticism with the slide, and you do thumb on its own, then three springs slide into the actual D minus nine. Then as always, on the offbeat number three, you plaque the top part of the cord, the three strings on top percussion on four. And then a plaque on the second 16th note to create the final staccato, and you're ready to start again. What did you guys feel free to remove some of these embellishments like the ghost notes, or even add more like slide between the cords or extra ghost notes if you like them. 7. Level 3b: So this is a four bar court progression where you play the C major. 742 beat 127 sharp 52 beat 34, then minus 742 beat 12, then D minus nine, G 131 beat each 34. Ready to start again? 1234 on E2341, full bar of minus nine the second time around. Now we use more chords. Here we start with a new position of a C major seven, which we previously played with the root on the string. And now with the root on the string, we introduce a B seven. The B seven is a dominant seven chord, but we do it altered, which means in this case, we are going to use the sharp five as an additional tension on the minus seven, we do Homeron embellishment which doesn't involve this time the pull off, it's just a Homeron. We introduce a minus nine and a dominant 713 extended chord, which means instead of just playing a D minus seven, we extend the D minus seven to the ninth, creating a D minus nine, which we will eventually play as a minus nine as well. It's the same position. And the G seven, which is the same type of chord as the seven sharp five, is now a dominant seven order. You extend to the 13th, which is nothing but the sixth of the chord played one October. This note here, which happens to be the same top note as the D minus nine. So that you can create some voice leading type of meloding between -13 ready to start again, and involve the other techniques like obviously the four not pages followed by the percussions. The new ghost notes that we've introduced, really important under that we mentioned on the second spring of the minus seven and the staccato son 13, which we obviously play with the plaquing technique, as opposed to the pages. Now from a music theory point of view, we are this time in the key of minus, minus seven is the tonic chord, one minus seven. That means that C major seven is the flat six major seven. What does that mean? Well, it's the six chord that you find in the key of V minus. However, any minor key has the flat three, the flat six, and the flat seven degrees. When you refer to the six chord in a minor key, you don't simply say six. You say flat six, major seven, obviously, because the major seven chord is the type of order we use here. Flat six, major seven. Moving to B, which is the five chord, five dominant seven, which we usually notate as 57, altered to say that seven has some additional tension. In this case the sharp five. Then as we said, one minus seven for minus, and then the D minus nine, G 13, they really are 25. Get back to the C major seven. You think of them as a secondary dominant, so a dominant seven D, which doesn't belong to the key and it only adds the tension to introduce the following D, which is C major seven. But it is also used combined with the two of that same code. In other words, D minus nine and G 13 must be seen as the 25 of the code we are heading to, which is major. Like if we pretend for a minute that we are in the key of major, we already define C major seven as the flat six, flat six major seven. Therefore, this is the two minus of the flat six major seven. And this is a 57 of the flat six major seven as well. Just remember guys, that C major seven is the first chord in this chord progression. But it isn't the one chord, because the one chord is minus seven, because obviously we are in the key of minus. So this is slightly more advanced chord progression, because together with using more techniques and having more bars, we actually introduce more chords like dominant seven altered chords, Dominant seven extended chords like the 713, and obviously the ninth chord that we use as an extended minus seven chord to get a minus nine type of sound. And it's also helpful to start seeing how sometimes the chords that you find in chord progressions and in songs, they don't really belong to the same key all the time. But they could be something external that you want to use to introduce the chord we are heading to. 8. Level 4a: Right, so level number four. We're gonna be playing this. We are going to get started with a C sharp minus seven threat number four for your bar. And it's basically the eight minus seven shape that we were already using for chords like D minus seven and minus seven previously. The way we play this is with the usual four not or pago ending with the hammer on on the second string that we already played. We do this followed obviously by the percussion, but we also introduce a change on the off beat. On the beat number two, where you play the percussion. On the offbeat, you play a major seven open chord. This is, by the way, the open chord that I referred to as the shape that you use when you play chords like F major seven and C major seven with the root on the string that we played previously. So far we get something like, once you're here, you are plaquing the A major seven on the AD, G, and B string altogether. But then you move your ring finger on the first string, which is an open string, and you play it on its own off beat Number three percussion on four couple of nodes, index and Th. And so then we are going to go to two more chords, F sharp -11 and G sharp -11 They are minus seven chords that we extend to the 11th. The fourth one, October, the way we play them for the F sharp -11 we basically use the 11th as an open string. It's the open string, okay? So we do second threat on the second, on the D, second on the G, and then open B. Then you slide these three fingers on Threat four for the G sharp -11 but you also need the first finger to play second Threat. On the B, you basically play something like four page percussion. Then on the G sharp minor 11, I first block these three. You get extra time to position your first finger down and you play it on its song with a ring finger. Percussion Usual two notes, G string and E string. This time still index and thumb. So the first 2 bars sound like this, then you're ready to start again, but on the minus seven, this time you pluck four strings simultaneously, and you do a hammer pull off on the second string, okay, creating this melody. And you hit the first ring with your ring finger on its own, creating this full melody. While the chord keeps ringing percussion, seven, a couple of notes in, 11, again, still move to -11 Three strings that you pluck together string on its own percussion. But then after the percussion, you get a new cord which will be using as a passing chord. It's the C diminished seventh, which looks like this. Threat three, which is obviously for your root net with your second finger, then fourth on the D, second on the G, and fourth on the B. You play it this way. Percussion. Then second 16th note, you pluck the upper part of the cord of D, G, and B simultaneously, and then the thumb on the third 16th note, playing the base on its own, basically count four altogether. The second half goes this way, and if you look altogether, and then in the next video, we'll see the breakdown of the techniques, the chords involved, and the music theory. 9. Level 4b: This chord progression is in the key of sharp minus C sharp minus seven. The first chord is also the one minus seven, the tonic chord in the key. When you go to a major seven, you are once more playing the six chord in this key, which we now know, we refer to as the flat six major 71 minus seven to the flat six major seven. Now sharp minus and sharp -11 they are nothing but Ra minus seven and G sharp minus seven. So the four minus seven and the five minus seven in this keen that we extend to the 11. So they are part of what we call the extended chords involving the ninth 11th and the 13th, which is nothing but the 24.61 octob. Imagine an Tra minus seven that you extend to the 11th, and a G sharp minus seven that you explain to the 11th. The passing chord, C diminished seventh, is a typical moving R and B and neos, and it basically involves the diminished seven cord, half step below the cord you are heading to. If you are heading to a C sharp minus seven, you go one fret back, you find the C note, and you play a diminished seven chord. Now the full explanation of this comes from the secondary dominant concept. If you imagine that you're going to the one chord which is C sharp minus seven, what is the 57 of that chord? Well, that would be a G sharp seven chord, That would be the secondary dominant. The 57, if you play a specific version of this G sharp seven, a G sharp seven flat nine, to an alterate dominant seven chord with an added tension, which is the flat nine, which is this. And you played rootless, you are actually playing a C diminished seventh chord. B sharp diminished seventh chord, we should probably say. But that's the same as C diminished seventh. And keep in mind, guys, that diminished seven chords are symmetrical chords, so you can move them by three half steps every single time. And you're still playing the same chord, just standing version of each other. In other words, the same notes in a different order with a different voices. So you may find in other corporations, and the songs that these diminished seven chords in this style get moved by three half steps. But you're still playing the same chord. So the steps are, imagine where you're heading to C sharp minus seven. What's the secondary dominant? G sharp seven. Now, you don't want to play a regular G sharp seven, you want to play a G sharp seven flat nine to add extra tension. If you play that G sharp seven flat nine rootless, so without the new G sharp, you basically get a C diminished seven, which will create that tension to head back to C sharp minus seven. Now, the techniques involved in this court progression are a mix of our pages with Hamerons percussions, the plaquing technique as well, and the split between the top part on the order and the bass note, which is what we do, for example, on the C diminished seventh. We also like to play melodies with these chords, and that's the reason why the first time we play this on the show minus seven. But the second time, instead we do alternating different notes, different voicings within the chord, using hamerons and hamerons, bulovs to create different melodies. 10. Level 5a: And we got to level number five. So here is your fifth neo sole core progression. So I'm sure that by now you must have recognized some of the moves that we already learned. But there are also new moves that we'll learn in this core progression. First of all, we get started with a new core position, which is an F major nine. Now guys, this is the same F major seven that we were already playing, but we are extending it to the ninth, and therefore we must refier it this way. 2143 frets, 87988, DG B string this way. And the way we play it, imagine that you want to pluck it as two eighth notes followed by a percussion twice like 1234 this way. But instead of doing it this boring way, you're actually going to do it with a meron of the pinky. Therefore, you need the first finger to create a bar of two strings, Threat seven of the D and G string so that you can get this Hammeron Grace note. Okay, So a short sound this way between the sixth and the major seventh of the chord. We started with something without the hammerons. Like with the hammer ons, it becomes, it's literally the same thing, a plaque of four strings simultaneously. What if after the two percussions, you play two ghost notes with index and F on the G and a string. We've created the groove. Then you move to another new cord, which is seven. But we play seven Altrad first with the sharp nine and then with the flat nine. We know that these are two colors that add extra tension. So we're going to do this Hendrix cord. First fret 76782 string, which is seven with the sharp nine. Okay? The fingering is 2134. Okay? You start with four, not pages, followed by a percussion. Then you remove your pinky, you bark the first finger across three strings, so you get the flat nine on fret six of the B. And you do this plaque in which you first play the bass note, the upper part of the chord plaque in three strings simultaneously. Then you repeat with your ring finger on the B string, only the top note. Another percussion. But then instead of playing the usual two ghost notes on the G and string with the thumb and index, you now play a B flat note on fret six of the string to create a chromaticism to the next chord, which is going to be a minus seven. You do, then you go chromatically down to fret five, where you find the note A with your second finger and you play this a minus seven. A really important chord in R and B and Neosl, but also in all those jazzy type of vibes you play four, not pages string on the minus seven, followed by a percussion. And then we introduce one of the most important things that you can learn in Neos, which is the Neos minus nine move. You start from the minus seven and you wonder, where could I find the ninth of this cord? Well, that is the note on fret seven of the first string. But instead of just stretching your pinky and plates this way, which you could do, but it's not the way it's usually played. You're going to bar the first four strings on fret five with your first finger and then hammer with your pinky that ninth to get this. So I play my four notes or patio percussion, then only thumb and then the spring plucked together with the hammeron, with the pinky, which I then remove. And I want to hear on the first spring, the root two octa, sia. That's another, a kind like a hammer pull off, but you don't really put it off, just plug this note separately. Percussion usual two ghost notes on the string. But while I do so, I also slide nowhere really just to play the second part of this minus seven. Doing okay. Which then allows me to play. This is kind of like a call in response. This was the call, and this is the response where we play again four other pages on the minus seven percussion. And then I turn it into an A -11 the same as the G sharp -11 that we learned in another call progression on this course. So we can do note that when you play this A minor 11, you split again the base in the upper part of the chord. And then you are going to play two diminished seventh chord, C sharp diminished seventh and diminished seventh. Same shape that we already learned in this court. And it's going to be on the C sharp diminished seventh, 535. Then you slided three threats across to 7868 to play diminished seventh. And we played it this way off beat number three, second 16th on the beat number four. Pluck it all together. Percussion Pluck it all together on the second 16. Ready to start again? It's altogether nice and slow. It goes this way and now let's listen to this level five progression attached quicker by now, guys, you do have enough tools to create your own variations and make your version of these progressions. So enjoy it and have fun. 11. Level 5b: Let's break down the chords that we've been using in this chord progression. First of all, the major nine is nothing but an F major seven extended to the ninth, and therefore we get this major nine. Now like many extended chords using the ninth or the 11th or 13th, this voicing doesn't include the five. And when this happens, we call it an omit five position. The seven is a dominant seven chord, which we want to play altered. So we want to touch on two extra colors to add extra tension. And they are the sharp nine and the flat nine. We already encountered the flat nine, but the sharp nine, it's worth mentioning that harmonically, that's the same as the flat three, but because we do have the major third Ople in this chord, we consider it the sharp nine. Then the minus seven, which we touch on this very lovely position is my favorite way to play minus seven chords with the root. On the screen, we extend it to the ninth by learning this lovely minus nine move, which is the signature neosal move you must have heard so many times. And then the -11 version of this, a minus seven as well, which we already found on the G sharp -11 in other chord progressions. And finally, two diminished seven chords, sharp diminished seventh and diminished seven, which we know they in fact are the same chord, just same version of each other because they contain the same note. Diminished seven chords are symmetrical. All of the notes in these chords are three semitons apart. And therefore, if you move this chord by 32 steps, you're still playing the in terms of technique involved, we are using the plaquing technique with the grace note, Hammerons, percussions, ghost notes, single note or pages. The split between the base note and the upper part of the chord, a chromatic like walking baseline to get to a minus seven more has more pages. And then the plaquing technique, again, we are in the key of A minus F major nine is the six cord in the key, therefore, we know that we address it as the flat six, major seven. Going to the 57 Ltd sharp nine and flat nine, which is the secondary dominant like a quarter. You can borrow from a harmonic minor if you know the harmonic minor harmonization as well. A minus seven is obviously the one minus. You've got flat six major 757, red one minus 720 in the key of A minus and C sharp diminished seven and diminished seven. Where are they going to? They're going to major nine, therefore they really are the upper part of a C seven flat nine, which is the secondary dominant of major nine as we explained already. Therefore, we are still talking about secondary diminished seven chord. Okay? Imagine that you want to go to that major nine. Going through the secondary dominant, the 57, which is seven, if you play it as a C seven flat nine rootless, you are actually playing a C sharp diminished seventh, which you then can move into an diminished seventh. So that would be the upper part of the 57 ultrad of the flat six major seven. 12. Conclusion: So if you made it this far, congratulations guys. You've now learned your first five R and B and neosole core progressions. Now it's been a journey. It's been a real pleasure. I've really enjoyed being your teacher for these first five neosole core progressions, but make sure now you don't stop here, keep learning, but also keep reviewing these core progressions and the concept behind them, because there's a lot to learn and it may take some time for everything to settle. Make sure that you reviewed the music theory behind these core progressions so that you can actually come up with similar core progressions. And more importantly, understand what you play and the why behind it when you play actual neosole songs. Also review all of the techniques involved and feel free to remove some of the embellishments or even add your own so that you can make your version of these five neosole core progressions. I hope you enjoyed this course, guys. Let's keep in touch and I'll see you around.