 everyone. This is Jason here from Nathaniel School. Welcome to this live stream. If you're watching on YouTube, and also welcome to all the people on zoom through our Patreon and through our subscribe students welcome to all. So in this music lesson, what I thought of doing was something I don't do very often on YouTube at least is just a simple music theory lesson not too much of piano just music theory. We pick a scale and we just dive into a bunch of simple but very important concepts which can help you through playing existing music which you're trying to learn it can help you through playing your own compositions it can help you to improvise and also practice and rehearse with other fellow musicians and also give you options give you harmonic options the lesson is primarily on harmony chords chord formation and I will try and go as deep as I can with the time that we have which is about half an hour of a window. So we'll pick a scale look at all the chords look at how you can quickly build chord progressions. I'll also try and tell you how they sound and if at any point you have any questions whoever's watching the live stream you can shout them out and leave them in the comments and I'll be happy to go through them right before we get started it'll be great if you can see those links in front of you if you followed us it'll be great if you haven't please do there's Instagram where there are some quizzes which happen quite frequently and we're doing more these days and subscribe to our channel if you're watching that'll be great there's also a bell which you could turn on that helps you get regular notifications because we do a lesson every week we do a three lessons every week we do a riff every day so it's good to hit the bell as well if possible there's also a patreon page where most of the lessons and the notes which supplement the lessons sometimes the midi files whenever possible will all be uploaded there as a post so as a member you can always get subscribed and you'll see all of those things and you'll get an email whenever a new video and thus a new post reaches you for instance this lesson all the notes which we'll do will be put up on the patreon page so you can check it out there so patreon will be something you can consider subscribe and Instagram for quizzes and stuff let's get cracking so the job today is how to form diatonic triads and we'll try and go a bit beyond that how to link and connect chords with each other that's functional harmony then how to build melodies using chords how does a melody and a chord come together see these are all the questions we ask if I have a scale what are the available chords that's what the diatonic triads are now that I know what the available chords I have to ask how do they work with each other how do they come together which chord goes after what which card comes before what and so on chord trees will be a question where you say I have a melody and I don't know and what chords go with that melody or what chords will go with a single note you know so that could be very helpful cadences are a way actually primarily for your year to figure out chords sometimes we put too much of stress on ourselves and say oh I need to learn that chord I want to know if it's G major or F sharp minor rather than that if you hear two chords and if it's a sound you're familiar with that is what we call as a cadence it's its musical punctuation so the entire story builds around these small cadences now you can also have some fun with chords you can have chords which are some of which being outside the scale and then they go back into a scale so that's where we have secondary chords we have borrowed chords we have a few other concepts like the tritone substitutions we use the circle of fifths sometimes I don't think we'll have time to go anywhere there in this lesson but I'll try and give you a few of these newer concepts as well if you're new to theory and stuff like that right so the assumption if you're watching this lesson I'm sure you know what a scale is so today we'll do the chords of a major scale and what better scale to start than something other than C major so let's see let's do G major for today's discussion and it'll get quite interesting so if you have a book the ideal thing to do while you're watching this lesson is to get out a book and write stuff down because most of the times when you learn chords you need to write things down that's what a lot of my music music teachers and general teachers in my school generally do got me to do you would have written about thousands of maths problems in algebra thousands of equations so you would have written the same thing like so many times that's why you know it so well the same requirement with theory so let's just write down the G major scale what's nice is write it down in a circle because this helps you to really form your triads quite easily so I've written down G major in a circle just for your information you could look at the key signature the key signature we say is one sharp so what is that one sharp of G major we have it as F sharp this is what it's notated there and incidentally G major is by notes at least it has the same notes as a E minor so when we are composing music if you wanted to sound sad you just get or use the chords of the of the minor scale of the relative minor but if you want like a more positive vibe then you tend to go to the major so these two scales have the same note so they will also share the same chord family so it's useful to know okay and then you bring them and you put them in a group music theory generally tells us in a major scale you have three kinds of chords you have the major chord you have the minor chord and you have the diminished chord or other chords there are quite a few of these chords which exist in the scale so you will have major minor diminished and in the scale there's a certain degree which you have to remember so why I wrote it in a circle would be you can find the numbers easily and you can also build the triads easily so in a circle you have G B D this is how you form a triad and primarily that the reason why we use triads in the first place for harmony is because a set of seconds are not so good as a pair of thirds so this is a pair of thirds this is a pair of seconds so with seconds that's G and A and B B and C so we usually don't like to start with that because I'm sure you'll all agree doesn't sound so harmonically pleasing at the at your first attempt with harmony you know so you want something normal you want something to sound good so that's exactly what thirds do so you have thirds now if I look at my circle you skip one play one so G B skip one more and play that and you got yourself a triad a triad means three something so in this case three notes but don't let that stop you from forming another third so you could do G B D F sharp you can start from A Am you get that A C E which we'll call something it's called Am and then you add that top note and if you want if I don't have an extra finger but if I use the other hand you can keep adding thirds so what's interesting is if you add it from the dominant chord from the D you can actually play all the notes of the G major scale in thirds it sounds quite beautiful it is all back so that's just something you need to know if you play all the notes of the scale like that sounds very horrible it sounds too chaotic and confusing but if you space them in thirds sounds really usable by that argument you could even use fourths to connect harmony you could do more on that later and the circular fifths I don't want to talk anything about the circular fifths in this video or in this lesson because I've done enough and more of it I'm going to take a break or a hi-test for it for at least a month and then I will do one more video on that circle I just keep you doing stuff on that circle and I'm always excited to share things findings on that circle so anyway so the G major scale has these sets of chords and it's good to remember the formula you have one you have four and you have five so the general logic behind writing Roman numerals is you use a capital letter for major you use small letters for minor so if you're looking at minor chords you're going to do small two small three small six so I you got that so if you're writing a major chord capital Romans if you're writing a minor chord small Roman that's pretty much the deal and then you have your diminished chords which is the small Roman and a degree sign that's the way we write it and just to add one more chord to the party which you may not find in the major scale the augmented chord so that'll take a capital Roman numeral and then add a plus to it okay a plus so how do we break this down capital Roman for major small Roman for this thing minor small Roman with the degree for diminished and big Roman capital with the plus for augmented chords the formula for an augmented chord is one three five sharp you get this chord in the harmonic minor scale you can check out my lessons just type minor harmonic minor on our YouTube channel you'll get enough and more stuff on this augmented chord okay so this Roman numeral system is very powerful just to give you something a little off topic let's say you wanted to play the B flat major chord and you're in the G major scale now in theory you can't do that let's first write down the available chords of G major very quick so your one if you see G G major 4 C major 5 D major then your 2 a minor 3 B minor 6 E minor that's your relative and then the 7 is going to be our F sharp diminished so these are all the available chords of the G major scale this is what is there in the scale but that doesn't tell us what is there in the key of G so there's a huge difference here guys so there's the key of G and there's the scale the scale is G major G major is seven notes the key is just G as the tonal center or as we say in Indian classical music the Sa or doh in you know various other conventions so this is the reference point for every sound you hear so let's say I want to play a B flat even though B flat is not here the question is why can't I because I'm you can argue you're in the key of G you know yes G major is what you're using the most but you're in the bigger world of G if you want to like go out of your neighborhood and do something cool go out for an adventure why not you can still come back to your good old neighborhood so G major is the scale and the key which is that good old neighborhood kind of area so the pros and cons are there of staying in that territory the pros are you'll be safe you're always going to make music which people kind of appreciate the general public will like it it's pop pop culture which you will use pretty much only these chords in fact pop music filters it out even further they'll go one five six four and ignore everything else itself so that's another debate on its own so what we try to do is when you're learning theory it's always giving you the opportunity to know what's normal what everyone use and then try to figure out not the unknown but things which are small fraction of people can discover if they want to leave their neighborhood right so that's what this class is about the we'll talk about the standard stuff and we'll see a little bit how we can go outside and come back inside why are we doing all this to make chord progressions why do we make chord progressions to make melodies so most melodies happen only because of chords you can't really expect a melody to just flow like that yes a melody could have a pattern it could be supported by a drone but most modern music these days really needs chords otherwise the melody won't won't manage at all so anyway these are the chords of the G major scale what I was saying a little bit back was let's say I wanted to add a B flat major just for fun in this song so let's say now what do we call this the official way of calling this is it's a major chord so capital three but then it is a flat and third so we prefer to call this as three flat because with respect to the tonic with respect to G this is the three flat so you may want to use this you could even consider like a six flat so what is the six flat G A B C D E so that's going to be E flat major right now you normally in the G scale you have a four major you could consider a four minor so you do a tiny of tiny roman 4 and you you can squeeze in a C minor the question now is how do you actually use them you can't just randomly bring it in so that's where we have cadences cadences will allow you to play chords within the scale as a collection it'll also allow you to play any chords out of the scale as well as long as you have a way to go back to the tonic that's the key so what I'm here to tell you is yes we are in the scale of G major but we are also in the key of G so for for for me as a composer that tends to give me more opportunities if I say I'm in the key of G I can do anything I can do a lot more things rather than if I were in the scale of G major the scale of G major gives me seven notes the key of G gives me 12 notes and so many intervals agreed okay so let's now now that we've looked at the chords another nice way to write this down would be in a line which I'd highly encourage you can write it down like this G major A minor B minor C major D E minor F sharp diminished now here's where things can get a bit interesting if you want to go beyond this remember what I said a little earlier I said I can do G B D and I can add another third what's that next third F sharp okay G B D F sharp so a nice practice would be to write down the notes maybe like this okay and this bigger chord let's just write down all this stuff G B D F sharp A C E G that'll be it's a minor bass with a G then so B D F sharp A then C E G B all through that circle which I wrote earlier you're just using the same circle then we have D F sharp A C then E G B D these are what we call a seventh chords seventh chords go beyond the triad and then F sharp A C E and then of course it repeats how do we name these chords we have a convention so we have G major seventh you're just adding the seven there some people symbolize it with us with a triangle so you can just say G triangle then you have a minor seventh or some people will say minus seven like that a minor on top and seven down then you have B B minor seventh which is gonna do like this or the minus sign then C major seventh so that's C major seventh this the five chord becomes a D dominant seventh so that's represented with a D seven you have just a seven letter there and then you have E minor seventh which is that and the last ones has a very interesting name we say F sharp minor seventh flat five because if you think about it this would have been F sharp minor now you're flattening the five that's minus minor flat five and the minor seventh and the intervals which are used here are pretty much see the major seventh uses the major seventh interval at the top then you have the minor seventh here minor seventh here major seventh here this is your flat seven at the top again minor seventh and then again minor seven but here this one with respect to that is a tritone or a diminished fifth so these are the interval so in a sense the chords are named sort of after the intervals which they form okay so we conveniently call these a seventh chords so whatever we started with we started with existing chords the diatonic triads as we call them then we expand them so these are the available chords you need to remember one four five is major two three six is minor seven is our diminished chord and if you're building seventh chords this is what tends to happen with seventh chords with seventh chords first of all a seventh chord has four notes a triad has three notes so when do we use seventh chords well for things like blues jazz and for more sophisticated chord work like if you wanted to play you know the G major chord like this you can make it more sophisticated by doing it's still the G major but I'm adding the major seven there so if I take like a simple melody with triads if I color this with the seven kind of colors it more and what I really like is that extra note inspires the vocalist or the you could be the vocalist and the player it inspires the melody writer to have that additional note that additional color otherwise the singer is hearing the triad now he or she will just have access to those three notes so your singer will be like in the melody but then what if you want to promote this note for them played or the singer could be clever enough and assume that note you know it depends there are some singers who know their chords better than the average chord player which is piano and guitar I know a few singers like that so okay so we've covered triad formation we've covered seventh chords so we haven't really seen how these chords connect with each other how do you go from this chord to the next chord so standard tool which musicians use is what we call as functional harmony so functional harmony basically shows you the function of the chord is the chord stable then we tend to call it as a tonic chord is the chord slightly unstable we tend to call it a predominant chord or is the chord quite unstable it's almost like a magnet waiting to be locked to something you know so you can kind of put an arrow like this and say okay the dominant wants to go to the tonic because that's what it does the pre for the most part will want to go to the dominant and in some cases it could even go to the tonic but for now I'll just leave it with those arrows right there and the tonic chords we have in music are the one the six when you're doing a tonic as six you could also argue oh we've gone to the respective minor or the relative minor and for some people 3 as well 3 is a questionable tonic sounds very brave and very uplifting so sometimes I may not want to call it a tonic but it's generally called a tonic chord because it shares the same notes as you can observe the tonic chord tends to have the most stable notes or at least two of the most stable notes in the scale there and of course the major one has exactly one three five the six has what it has this thing it has the six but then it also has the one and three scale notes the three happens to have what it has the third the fifth and one more note which happens to be the seventh so it if it has at least one of these we prefer to call that a tonic just to have a nice grouping pre-dominant is what we either say two or the four if you see they have very common notes between them they tend to use the two and the four and the six the two four six seems to be there so you I guess you have at least two of those guys in there okay last but not least you have the dominant chords which are five or you have the seven diminished another nice way to look at this if you think about it five plus seven I'm just adding up the notes of the the fifth chord and the seven diminished you actually get a bigger seventh chord you get this five seven just to prove it to you in the G major scale what is your five chord G A B C D so that's D major D F sharp a plus what what is the seven diminished F sharp a C so the resultant is what D F sharp a C that's the idea so you could say five seven is your actual dominant chord you can always play the dominant chord as a seventh chord that'll be nice and the tonic you could play as this this this so how do you make chord progressions like the staring at this it's quite simple you can just look at a set of chords and try to land on the tonic and follow the stability of these chords like for example well we don't care how we start let's say I want to start with the one then I want to go to the six so in both aspects these are very stable chords now I want to create a sense of instability maybe a two minor and then end with a five we could do stuff like this why does this work so well this is tonic tonic pre dominant tonic tonic pre and dominant tonic tonic predominant so what happens here is E minor A minor 7th if you spell out the chords you're gonna do G E minor the sixth A minor the 2 this minor and D or D 7th at the end so this forms a fairly useful chord progression or rather a very useful chord progression it's really really popular this one so here we go I'm using inversions by the way for piano players watching that helps me change easily it inspires a melody it's almost like a melody waiting to be born so that's your palette that's the information you have for your melody so functional harmony gives us this tool it allows us to link chords really well and we take the concept a little forward or very forward using cadences and as I keep saying this I you can be rest assured that almost all these topics have been covered in YouTube YouTube videos may not be in that much detail but definitely in our classes if you do any of our theory lessons at the school we will pretty much use one entire lesson on each of these topics so sometimes more than one lesson we may need to spend like four five lessons on functional harmony is what I tend to do with these chapters is I'll play you a few songs and I'll show you all these guys are using that cadence these guys are using that chord progression it's unfortunately not possible to do it in a YouTube lesson because I think we've tried this a couple of times in the video has actually been taken down whenever you play an existing song which has copyright protection so I'm not going to do that so this video can then be available to whoever's watching it later so cadences cadences is a very tiny chord progression again I've talked a lot about it on YouTube and in the regular classes we have so cadences is just two chords or three chords which you need to learn very well and figure out a way to connect a melody around that so I'll just give you in a few of them we have a five going to one very common cadence we have a four going to one again very very common cadence and you can also alter the four you could say I'll write the alterations later hang on then you have pretty much anything ending with a five now the anything I don't want to leave that to your imagination it could generally be the two or the four please that's what I tend to do and last but not least the other so-called classical cadence is where you do the five and end with a six okay and each of these have some interesting names five going to one is what we say as the authentic or the perfect cadence it's called of different things in classical music in pop jazz they call it different things but these are words for it four going to one is generally called the plagal cadence or the amen cadence which is used a lot in gospel music and hymns the two going to the five just the fact that it ends on the five they call it the half cadence for some reasons and the lastly five going to six we call it the deceptive cadence at least that's one name for it okay so that's how the deal works so you have authentic plagal half and deceptive so if you think about it you can build an entire chord progression or even a chord progression is a small small way to look at a song right you you should look at a song and say okay I want to build a verse why chord progressions let's build the whole verse now so a verse will be a bunch of cards like many cards going all over the place so I could analyze my verse and or tell myself I want to make a verse by doing authentic authentic then what shall we do next we'll do deceptive at the third round and end with a half cadence so that it kind of pulls back so this is the information and we do this a lot in our theory classes we do this as an exercise and then we just brainstorm and everyone composes a melody and we kind of take it forward like that now this poetically if you think of yourself as a poet this is a poem in an A A B C writing structure lyrically writing structure or the rhyming or whatever we call I'm not I'm nowhere close to being up a poet writer but you get the idea see even for blues you have it in a blues 12 bar poetic framework you could say come on baby don't you want to go come on baby don't you want to go back to that same old place sweet home Chicago this is like always your answer your response this is your repeat of the call so if I have to build authentic authentic deceptive half on the G major scale what's gonna happen authentic is five going to one that's your D to G D to G once more then I want to deceive the ear of the listener as it's called there so D to E minor and then let's do an A minor just to bring in another minor and then we end on the dominant chord that's your half so let's see if this should be the worst of my song which is a combo of cadences then you use this you build some stuff there and see how that can lead you to a chorus which is the second part or maybe this is the chorus and then that could take you to a verse generally when you write music it follows a fairly poetic model if you think about it because music has words lyrics so people do write stuff down and they are thinking in that sense then it has to rhythmically match so there's a lot of words there's rhythm rhyming the language so chords really bring that all together you know so if I bring this on G just play the chords then we'll try a tune that was the entire sequence so I started with D to G repeated as you can as some of you can probably hear and make out he's inspired by so many songs by singing this and maybe a couple of them already sound quite familiar to you so you see it's not very language dependent none of this stuff is culture language this one is Bollywood that one is some other wood kind of a thing it's not really related to any of this stuff it's it's the physics of all this it's the core ingredients which can make up any kind of dish which suits your cuisine the way you wish to cook it so this is an introduction to cadences and there are a lot of lessons which take things even more forward you should definitely type cadences on YouTube you'll get a lot of stuff and the notes are also there which you could consider getting an access to there are some cadences which are really cool like for example we have a six flat going to seven flat and then going to one remember what I told you earlier you can go out of scale as well because we're in the key of G we are not saying committing to a scale of G major so what is the six flat seven flat and this thing this will be G major the one then what is it's this thing six flat F and G so let's say I'm playing this is a song I'm sure which will not be taken down by the YouTube people so you go if I do I could do that I'll just break just that section how I wonder what you are what did I do that I did the traditional chords would have been so I could play play this play with this so how I wonder what you so I could add this spice so this is what at least I called because I have not found these names in classical music textbooks I just use names like this epic cadence then brave cadence forbidden cadence I have forbidden cadence I've done a lesson on not to make fun of the chord progression but I think it's overused so yeah it's a forbidden cadence they all use it so probably don't use it right yeah I'll just come to some questions I see a lot of questions I'm coming to that very shortly so if I just end twinkle twinkle like this with the alternate ending almost feels like it came from another rug and then sort of just went outside came back into the major so that's some serious power right there so these are cadences so cadences allow you to connect various things together okay I just have a few a few interesting topics just to give some food for thought and then we're pretty much done but before I do it may be nice to look at a couple of questions if anyone has a few questions please shoot them out yeah Venkatesh could you go ahead if you can ask your question will be great yeah of course kiss from a rose he uses it then he uses what else how many songs use so many songs use it almost every rock song most of the rock songs use it so yes that's all I think I can sing of it but anyway yeah yeah any other sham could you please ask your question if possible yeah oh I want me to do yeah go ahead yeah so my question was when you play twinkle twinkle so we generally tend to pick the cards from the same scale as like if it's the major scale then we tend to pick the question major scale yeah so my question was you know how do you play the same melody from the major scale but yet supported with the cards from a with a different different card that's out of the scale I think that's what you showed it to the epic cadence yeah so so it really it it's very melody dependent so the whole story is very melody depends so if you take let's say the tune G G D D E E D C C B B A A G and if the rhythm pattern is the usual rhythm pattern I don't see it being any different than this that's the rhythm framework no so if we have to build our chords how I wonder now let's say I want to add a plagal cadence here so what you do is you say okay what's the plagal four going to one what's the four going to one that would be C going to G but what you could also end up doing is what if you do a C minor going to G which is like a borrowed chord we call this a borrowed chord you borrowed it from the parallel minor scale or the G no yeah G minor scale exactly so if I check this out I did not change my tune tune is the same or even I brought in that seal progression if you want to call it that and it works I didn't I didn't touch my melody same melody now in the event that it sounds a bit funny you could alter one or two intervals so let's say the the or the six got flattened or sharpened or something maybe the then you have to re-spell the melody you have to change the melody so that'll be more like you're transposing to a key like if you if you were to let's let's say do versus move the whole thing from G major to move the request to the guys on YouTube please hang around for a little bit longer thanks for watching first of all because there are a lot of questions and I want to answer some of them there's some really good questions on YouTube and here so yeah thanks for your question I hope that made sense Jayant you're here on the call would you like to ask the question yeah I have actually asked on chat yeah just the question is actually when we are using that 7th chord so we are using four keys on the while playing a chord so do we use this while playing arpeggios kind of pattern or any other pattern or we use them as a prop chord only all played together that's a very good question see seventh chords I'll just give you a quick they talk about it see if I play G major 7th and if I play it like an arpeggio with all its inversion a lot of these 7th chords I guess that's what you're saying a lot of the 7th chords seem to sound very different when you invert them but if the bass is G like if you're playing a G 7th and if the bass is G it tends to always kind of resonate well it's not going to like a romantic chord is not going to start sounding like a horror movie chord it's not going to change so so much so if it is like a very emotional chord it will stay that way so inversions will help arpeggios will help the pattern you play it will help see if I play you a chord like I mean now it's more like a dance song so rhythm takes over so your music remember in this class we are talking about harmony and chords but rhythm is a huge force as well which we'll definitely leave for another topic but all these forces coming together is what creates music and I'm just going to take a couple of the YouTube chats can we repeat a cadence a few times while we stay in the same tune chord yeah I mean that's what I just showed you right so take a song like twinkle twinkle little starts the ideal song another thing you want to check out is I've done I'm going to be doing like this Instagram challenge very shortly where I'm going to play a ridiculously simple melody I forgot the melody it was so simple something like that was the tune so I'm going to make a video on this on YouTube stay tuned for that subscribe if you haven't already and I'll show you how you can play so many cadences like at least 20 different cadences with it'll entertain you hopefully for like three four minutes for a whole song which is the length of a song isn't it yeah so it's very very powerful the tool is really powerful if you learn all the aspects so music theory is by no means something serious so that's one thing I think books and certain individuals put inside music students heads you know everyone wants to just start playing the piano but what is the point of playing the piano when you don't know what to play what it means what it feels like what it can do how to take that on an adventure you know it's like someone teaches you how to shoot in some archery school or whatever but then suddenly is there's a zombie apocalypse or something you have to deal with that you have to adapt so music is all about stories who's the actor what is the purpose where is this on is it on is it even on planet earth to begin with this particular story you're trying to tell because it it is an art form so you can write can talk about anything you want really okay I'm just going to take Amol's question if you're there Amol okay he asked Yes sir actually Shree has asked the question is asked by Shree great great okay Shyam has asked can a progression resolve with all being seventh chords yeah of course I mean you can do the circle of fifths you can do even a jazz 251 progression that that they do this very often you can do a 2-7th going to a 5 dominant 7th going to a 1 major 7 these are all 7th chords you can even go to minor 7th flat 5 going to 5 7 flat in the 9 so you're adding one more note and then go to minor we sound really beautiful like for example that's the minor version okay guys thanks a ton for sticking around for this I'm just going to check out the lot of questions on YouTube unfortunately I don't have that much time we've pretty much run out of time but yeah when playing 7th 11 13th chords do we need to divide them between two hands how in the real world are these chords played yeah that's a very good question so if you think about it if you take a ninth chord like this one C dominant with the ninth you can't play it with one hand at least I can't so you develop a voicing strategy so let's say you take the blues C seventh and you just can get away with it with an E and a B flat and add the ninth and forget the G I did a 7 flat 3 and a 13 so you knock off a few and then play the bass note the root note of the chord and yeah that's a way to voice your chords definitely more on that later guys right so let's just recap what we've done so that all the concepts are sort of understood by you folks so we first built I hope I've told you the way to die to structure your chord learning write the key write the scale in a neat round circle write the available chords this is very important and your key major minor after you do that stuff if you need to you can write down your seventh chords which are very important these are four note chords then you look at your chords from the perspective of functional harmony so here it was only classifying the chords by emotion and by title that's it does like for example major is happy minor is sad diminished is rather scary so you're classifying it by that when you do functional harmony you're doing it more by the purpose or the meaning of the chord this is unstable it wants to go there like that so you build chord progressions every technique we learned today can help you build serious progressions and last but not least oh no we've done something else as well cadence is I've given you four of the usual ones we use in classical in pop and whatnot you can use that and then we looked at a few other exploring things I tackle some of your questions and definitely there are two topics secondary dominance and borrowed chords which very interesting but I think it's it it will do justice if I do another live where we just talk about that we assume that we all know the chords of a scale we just write all that down I won't teach that anymore and then we'll be like okay how do I really leave the scale in what ways can I leave the scale for whichever melody we'll even probably take an example of a melody and yeah that's about it guys thanks a ton for being part of this class a lot of the stuff is there on YouTube there are a lot of detailed lessons there you'll find some of the notes on patreon actually most of the notes in the past two odd years at least since the the pandemic we've been using patreon for all our notes notation will be there MIDI will be there some people ask for MIDI so what MIDI files are is it's just a digital information system so you download a tiny file like a word document and you import it into a MIDI player like a synth easier which gives you the notes it shows you what what everyone is playing and whatever else so that's one way of learning so all that stuff is available on patreon the subscriptions are about $5 a month and do consider it if you can and at our school we teach quite a few instruments piano vocals guitar bass drums Hindustani vocals as well so if anyone's interested if you have a friend family member or if you are interested at whichever skill level you can go to Nathaniel school.com and check it out and our courses are available could fill up a form let us know what you want to learn and we'll figure out what we can do best right guys thanks a ton good night or good morning or good evening from wherever you are and catch you soon thanks a ton for watching thank you thank you thank you just thank you bye take care guys bye