 Okay, so let's look at taking these two progressions now one four one and one five one and stringing them back together So we're gonna stick around and see I like to stick around and see for explaining things just cuz it's doesn't have accidentals So it's a little easier to understand so Now anytime I'm I'm improvising at the piano, and I'm practicing voicings. I find it's actually Useful to try to shape the the practice any anything that you play here Pretend it's like a little piece of music and actually try to make it sound good Think about your dynamics think about your articulations think about the phrasing of things So let's start with So we just did a one four one I'm holding the bass I'm gonna do one So all I'm doing here, and I'll start to write this out the treble clef there bass clef connect them I'm holding out a bass note. Let's put a time signature so we can see Holding out this bass note here. I'm actually playing octaves so I've got two C's And I'm just playing quarter notes In the right hand so you can see that one two just like that now. I like to Practice writing this out quickly and accurately And then here as I talked about before I'm actually holding out this bass note The voices are just changing a little bit here. You got E Moving up to F And you got G Moving up to A This is just back down now when you're sketching you can use shorthand And sometimes if I'm repeating a thing And it's really obvious to me what it is that I'm trying to accomplish here I'll just write a line following the chord that way don't have to write the whole chord out every single time And then same with If I do another measure here I can just repeat that with the repetition sign Just like that So here we've got our first phrase of melody to the bass An eighth note right there It's not super clear yet and then just Now for over here what I'm doing is I'm doing a G in the bass You'll find I like to do a lot of Shorthand for things if it's if it takes a lot of extra effort to write a bunch of like, you know Ledger lines or to copy a thing multiple times when you're sketching in particular You can save a lot of time try to get your idea down quickly while it's still fresh in your head But here I've got G chord so that's Actually, you know, I think I I didn't do that quite yet if I remember what I played Was just a straight up one five one. So I'll do See you again And I suppose we could do the ledger lines. So every time I like to think of what an octave is in ledger lines There's three ledger lines And if the top note is has a line going through it and the bottom note Is open and vice versa the bottom note has a line going through the top note It's going to be open just a little shorthand for my brain So we had Okay, so what we've done here is we've written out a complete phrase I don't know if we can see here working on a getting a better camera rig set up for my notation But for now this will have to do The one of the big benefits of Doing things from Musical, you know Patterns or progressions that you know well Is that it takes care of a lot of the mental load that is required for being able to take what you hear in your head And getting it down on paper So not only do I know what this sounds like before I play it I know it's a common musical object But I also know how to write it down With one five one You can see how I I've got this repeated a couple times But if it changes Learning to write what's in your head and Or hear what's in your head and properly write it down on the paper is a skill that takes time to develop But this is a great way to develop it. You you practice Playing something thinking of something having to remember it Transcribe it down if you can't remember what it was exactly Go back to the keyboard try to play it again try to get it accurate And then from here you have a lot of flexibility. I mean we can we can look at these notes and then we could Come up with a melody And I all I was really doing was you know picking Different notes And it's really all part of this chord anyway And you'll find as we get deeper into composition you start to really play around with you know, what's going on there All I'm doing here is now connecting these These chords with passing tones But you'll find that a lot of melodies are not that much more than just chord tones and passing tones And some of the more advanced types of ornamentation or advanced non chord tones Um They're they're much easier to Kind of control when when you keep things simple at first and you write melodies that focus on chord tones And connecting those chord tones as you go