 Hi everyone, this is Jason Zach from Nathaniel School of Music. In this lesson, I'm going to tackle a topic which a lot of students have been asking me, continue to ask me and a lot of you guys who follow us regularly as subscribers have typed this a lot in the comments and have shot us emails and whatnot. So this is I guess the most important thing in the field of music. How do you figure out chord progressions just using this your year and nothing else. So that's what this lesson is about. I'm going to deal with a lot of strategies which will help us towards this goal. But before that, there's a lot of pre-planning, a lot of preparation before we get into the actual approaches. So sometimes these apps and all these things out there will not talk to you about how to prepare and how to plan these things. They'll just give you an exercise. So some apps may just give you four chords and just expect you to figure that out. Yes, they may go in a structured manner, but there are two problems with these apps. One is they'll be four chords in isolation. They won't be there with the melody or it will mostly be silent. So you're not really learning music with the real world music. You're learning it with just those chords isolated. It may give you a feel good factor, but apart from that, it's not a great way to learn to train your year. There are a lot of tips in terms of technology which I'm also going to tell you throughout this video, but none of those will involve an app. It's going to just involve you and the actual song. So we are going to focus with you and the song. And in this lesson, due to a couple of reasons, we may not be allowed to play any song for you actually on this platform of YouTube. Otherwise the video will be taken down. I would have loved to. I do that almost every other class in our Nathaniel School Music Method semester courses where we listen to music and figure it out part by part. But however, what I'm going to do, especially for the Patreon users out there, or if you're not a Patreon member, you can become one by going to patreon.com slash Jason Zach, you'll have a lot of these exercises available for you. And a lot of this will involve you to really get and digest the sounds. So there are quite a few of them also owing owing to a lot of time. I'm going to do the supplementary learning for this this video or this tutorial on Patreon. There'll be a lot of exercises on the forum. So do check that out in this lesson. However, if you choose to only stick with this, I would encourage you to get your keyboards out that might help get a book out. And most importantly for our channel, please consider giving the video a like, hit the subscribe button and hit that bell icon for regular notifications. Let's get cracking. So before you actually dive into a song, when you're hearing a piece of music, the first thing is figure out not the chords, but when the chord changes occur. Right. So another in this case, if you hear the chords two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four. You see, that's a chord which sneaked in between the bar. So you not only need to know what the chords are, but prior to all that stuff, you need to at least know that, oh, yeah, because music is a dynamic art form, time is flowing. Right. So you need to know after four beats comes the next chord, or is it the same chord? Like for example, still left, still left. Now there's a change back change, change, change, or the may the change may come quicker. You know, this song for the most part, you'll have the chords changing every two beats or mostly every four beats. But in some cases, you would have like a chord change occurring almost every beat. So maybe they use some complex movements, maybe it's a passing chord. Passing chords usually happen very fast because they connect to the landing chords. So you need to document your chord changes and look at some of my chord charts which I do regularly for my riffs. I put them up on Patreon. And also you'll see some of them in the video as I'm talking how I put the percentage sign. Percentage sign means you repeat the chord for a bar. Then I have a convention which works for me for my gigs, where I put a kind of a bracket that indicates that all those chords are packaged together in one bar. If I don't put a bracket, if I don't put a percentage, it is the same chord, it is that chord which you see for four counts or for the value of the time signature, which could even be seven by eight, which could even be six by eight, which could be 12 by eight, which could be five, four or whatever it may be, that's lasting for a whole bar of whatever the time signature is. Then inside the brackets, sometimes if I don't put any other additional thing, it indicates that the two chords in the brackets are lasting for two counts each, minimum, minimum. However, that could change. You could have a chord at one, two, three, four, one, two. So at the four, you could have a different sound. So that's where I like to notate it. I put a dotted half and then a crotchet to show that it's three and then one. Or you could just write three meets one. You could also, in some cases, there are some scenarios where the chords are played in accents. So you can do, they have things like one, two, three, four, five, one, two, three, four, five, six, one, two, three, four, five, one, two, three, four, five, six, you know, weird frameworks like that or one, two, three, one, two, three, four, one, two, three, one, two, three, four, one, two three, four, one, two three, one. So one chord is for three counts. The other count is for four counts, you know, or even if it's over four four, you may have, one, um, um, one, two, three, one, two, three, one, two, three, one, two, three, one, two, one . Or even in the case of, sorry, or even in the case of a four by four song, Lets say 1231231212312312312312312312312312312312312312312312312312312312312 You can document that as well. So in a nutshell, again, preparing yourself. Yes, also, pre-preparation if you will you need to listen to this song a few times and enjoy the song to be honest, You just have to just enjoy the song, respect what you're doing as well, create an environment which is filled with a lot of musical energy. You don't want to do this in random locations. Get yourself a nice pair of headphones, sit, relax, get some nice food or popcorn or some cheese sandwich and get this job done. So you need to be very focused. This is the only thing you're doing at the current moment. So be focused, get all your gadgets ready and keep a book as well because you need to write this down and that's about preparing for the chord changes. Now after you do all that, we get into all these ways of detecting the chord progressions and like I said, you can download these exercises on our Patreon which we will have for you waiting there. So a sure shot way of figuring out a chord progression by your own ear with the actual song playing is just tell yourself it is all about that bass. So when you're hearing a song, you hear a few chords. You hear maybe let's say F major, C major, A7, D minor. This looks like a volume of information, lot of work to take in. So you want to simplify it as much as possible for yourself by making it like a one-step process. I hear something and it could be that chord. So if you're on a scale, like a major scale for instance, you know that there's one major, two minor, three minor, four major, five dominant, seven sometimes six minor and seven diminished. So if you heard a bass note which is at a certain scale degree which it will be, anything you hear will need to have a degree because it's all part of a scale. Almost every single song out there needs a scale like a major or a minor. So if you heard the note F, you don't have to struggle and try to know that it's F. You just have to hear something and sing what you heard. You need to hear and dive into the bass. You need to go to this register to go all the way down and find the bass. And if you get the bass notes going, you've got yourself the chord. Like if I'm in the F major scale, you heard an F. It's F major. Bang. Over. Now you play an A minor and if you can hear and sing that A, there we have it. You're done there. Now you want to do a B flat for instance, or you're hearing a chord and if you have a B flat, you don't know it's B flat. You just say love and you align that with the, let's say you don't know it's B flat. Always align it later on the piano or you can use an app. You can use like a guitar tuner app, like INS tuner or anything you have which tunes an instrument. I'm sure you may know of such apps. You can just basically sing two into the app, two into the app and then it's going to kind of showcase, it's going to give you that B flat. It's going to tell you that you have sung B flat. And that's how you can use technology which is fine. I don't see any cheating in that. So you sing B flat, at least sing the correct base note. Use the app for a verification because I'm assuming that you watching the video may not have perfect pitch as it is a very rare skill. Even I don't think I have perfect pitch. I have what's called relative pitch as we all tend to do. If you give me one note B flat then I can sing F, D, E flat, C, D, B flat, C, A, B flat. And the only reason I'm getting those notes so quickly is because I know the theory of the scale. I know the B flat major scale in and out. I know all its notes. That doesn't mean I have perfect pitch. I have relative pitch because I heard B flat and then everything is a point of reference with respect to that target note or that root note as we call it. So listen to the bass and after listening to the bass, use your theory to write down the scale if you're an F major. And yeah, that's also important. You need to figure out the scale of a song before even attempting the chords because for the most part chord progressions all come from within a scale. So it will help to follow a nice flow chart or an algorithm. Listen to song number one. Prepare all your chords in a neat sheet of paper number two and then you would need to listen to the bass note. And if once you have found the bass note prior to finding the bass note, write all the available chords of that particular scale. So if it's F major, I'll write F major, G minor, A minor, B flat major, C major, D minor, E diminished and that's all. If you want to write the secondary dominant chords or the more advanced chords or the borrowed chords, feel free. Otherwise just write the diatonic chords and start with pop songs while you're learning this method. Don't do queen songs, for instance, which will be very, very tricky to start hearing chord progressions if you have never heard it in your, if you have never gone through the process before. So now that you have heard the bass as I told you earlier, you could sing it into an app. The app gives you the answer. Another way to do it by bypassing a tuning app is to basically do what sound engineers do, which is equalization. You could take the song, put it into your listening medium and just adjust the equalization. Maybe if you want to hear the bass, you could either increase the bass, but then it may boom or distort your speakers. So keep the bass as it is and then reduce the treble, reduce all the higher frequencies which will have your vocals and whatnot. And yes, it is, we are in the world of AI, there are apps out there which can do this automatically like Moises, for example, which some of you may know. So with an app like that, you can just bring in a song. You download the song from your iTunes store or whatever, bring it into the software or bring it into the app and it can isolate whatever you want for you, which again I don't think is cheating. It's a good way to improve your skills as an artist or as a musician. You don't want to kid yourself about this. So you listen to a song, apps like Moises or an equalizer tool or an app which can show you for tuning will tell you what is the bass note. Moises will extrapolate or remove the bass or give you only the bass so you can actually solo the bass or you can even reduce the volume of all the other elements like the vocals and even remove the vocals, keep the drums and the bass only, and it'll be easy way to figure out the chords. So hear the bass, treat the bass like it's a tune like You can sing that by hearing Coldplay do it. So why can't you hear? Bass notes are actually much easy because the guy plays it and And it goes on sometimes for the whole bar, because the bar will serve the whole chord. And the bass note is the root of the chord, it's going to go on for a bar. So come to think of it, hearing the bass is a lot easier than hearing the melody or notating the melody, because the bass is just going to do things like... And the bass player would also kind of lead you the listener, which is there in an actual song to the next root. And that's actually what we call as an awesome bass line in the first place. So if you listen to any song, especially blues, I would encourage you to start with blues, jazz progressions, identifying the two five ones, because those are things you can predict. Or if you listen to certain music from certain cultures, like Spanish music, you may find cliched progressions, things like that. If you listen to a lot of Coldplay or the modern day electronic dance music stuff, they do things like... But then sing the bass. Okay, and with all these apps, with AI taking over, yes, there are things which give you instant chords for a song. I would sincerely encourage you to just avoid all that, because why are you doing all this in the first place? To become a rock solid musician, a musician who can work with anyone else on the planet and a musician who holds his or her ground in any playing environment, whether it's a concert, whether it's a recording or any session, you may have any challenge you put yourself into, right? Which is why if you compare a musician with an athlete, an athlete will always play by the rules and ultimately his or her performance is shown on the day of actually doing it. So how much ever you try to trick yourself, you have to be a good footballer in order to play in a high pressure game. It's the same with music. So ultimately, if you learn whatever it is you're learning, you're going to put it on a record or you're going to play it in a gig in front of people and you will know whether you did it well or not, right guys? So that is one way to really get your chord progressions using the base note. Let's move forward. Right. So this may seem very simple or obvious, but a song tends to have a lot of chords. So if there are too many chords to deal with, at least you find out and pinpoint all of the chord points which happened, put a question mark or just leave an empty space and then listen to these chords in tiny chunks of data. And the tiniest chunk I can think of is two chords which in music we call as a cadence. So the cadences are authentic five to one, plagal four to one, deception, five going to six. I'm in the key of D by the way. And then anything which ends on the five will be considered half. So it creates a kind of a questionable, unended, open-ended kind of sound. So authentic and plagal cadences sound very stable, very complete. A deceptive feels, yeah, it feels like a new unseen territory because you're moving from major to the relative minor while a half cadence is like you need to wait for the next line or it's ended with a question mark or a surprise ending. So these four cadences have been used by the greatest of the composers for hundreds of years and it's something we need to know. So in a song, how well or how easily can you identify the cadence? So is it plagal? That would be, is it authentic, is it deceptive, minor or is it ending on the half? So cadences are a great tool and we have some exercises waiting for you. Do check it out and see how you are at cadences or how you are at all these strategies and let us know in the comments. We can try and figure out what we should work on moving forward to serve you best. Great. Moving to a song and you're absolutely clueless about the chords. Maybe the bass did not work, maybe the, you're not able to get it through cadences, it's a bit weird or different for you. Well, go to the melody, isn't it? So if you take, let's say the melody, let's say if the melody is something like this. Try to figure out all these landing points. The landing note is a rather complex subject. We have done a few videos on this. A landing note is basically a bunch of many things. So it's where the note lands, which is usually on the beat one of the bar. Also what we call as a strong beat. So if you take two, three, four, three, four and you also observe it's landing on the one and it's also very prominent. It's a very important note. How is it being made important? It's played for longer in time. This will probably be a minimum in comparison with maybe quavers, which will be the passing notes trying to take you to the next one or where the melody is trying to run around and have its fun. So now if you have to harmonize this, let's say I'm playing D and as always you need to get the scale. That's the first and foremost important thing to do. If the scale is D minor, which is a relation of which major scale? F major, right? F major has one flat, namely B flat, so D minor will also have that one B flat. So anyway, if I'm playing a melody which is sort of like panisa is similar to that pirates of the Caribbean thing. I hope this video doesn't get taken down anyway. So if you do this and try to harmonize this, so what are all the... What is the palette of chords of F major? F major, G minor, A minor, B flat major, C major, D minor, E diminished and so on. No, that's it actually. So if you have a target note D, you want to put a chord for the D or you're hearing a song, the guy, your point of interest is D. You've kind of played the song. And then you stop the song. You just hit pause. I used to do this from the cassette era, by the way. So till the songs going on, you find that important note, which could also be based on the lyric. It could be like a very important adjective or something like that. So let's say somehow all roads lead to D. D is your point of interest. What are all the chords which go with D? Well, you have D minor, B flat major, G minor. Well, you have a few others as well, but then we've committed to the D minor domain. So in the D minor domain, just using maths, arithmetic, you figure out that a chord has three notes. So that's three positions, low, middle, high. So there's a D. So D can be the low note of one chord. It can be the middle note of some chord. It can be the high note of the other chord, because all chords are built from the scale using triads. So three notes. So D will be there. If you didn't understand that logic, don't worry, but you get the idea, I hope. So D will be there in the B flat major chord, the D minor chord and the G minor chord. Now, will an F major chord work? I'm on the F major scale and if I play, not very well, isn't it? So in other words, at the landing point, it's these chords which share a tone with the melody. They share at least a note in common. That's going to be the chord which will work for that melody and will serve the melody best. So when you're listening to a song, you're like, hey, I heard a D. That was a melody note D. Okay. Why do I need to actually know that it's B flat major? I can predict. I can predict that it can either be B flat major, D minor or G minor. And then you can do an AB comparison with the other chords. You can do a trial and error as we all like to do. But we don't like to do trial and error with like a million possibilities. We like the ranges or the options to be like very easy. In this case, since you know it's going to be one of those three chords, maybe G minor is quite nice. That's quite nice. That's also quite nice. But maybe in the song, you listen to it again and you're like, hey, if I play, this works, maybe B flat works. Maybe you also heard it as a rather brave or a happy chord. So then you filter out the two minors, namely G minor and D minor. So that's another way to figure out a chord progression or I would say a chord by ear, by not really hearing the chord, but by just using a tactical approach. The melody is D. We can all hear a melody. That's the easiest thing to hear. It's in the top, hear the tune, figure out using music theory, what are the chords available and just map them out. And I say this a lot, ear training is not just to train your ear. It's to train your mind. It's to train your mind to know what's coming next. It's to give you a predictive way of dealing with music. You should be able to know, OK, that's the next chord. It's going to be that. I don't even need to hear the next chord. It's like you want to take a guess. That's what's going to be there. It's like a game of cards, so to speak, which you're playing with the song. So we've looked at approaching the bass. We've looked at tiny cadences. And now we've looked at the melody. There are a couple more strategies which I have for you before we sign off. So let's move forward. So the other way to figure out chords for us, a song or thus a chord progression is just go by the simple vibe each chord gives to you like a major chord. It's quite pleasant. It sounds happy. It sounds stable. It sounds positive. It sounds like maybe you're back home. You're chilling out. And then even if I played rhythmically, sometimes we get confused how we play the chord matters. If I do, this would appear to be more playful, chirpy, you know. Very playful or childish, if you will. Now the minor chord on the other hand is a complete polar opposite. It's a bit more pensive, it's a bit more like your struggle or a sorrow, something painful. And if you played in a rhythmic way, it sounds a bit sort of mischievous in a way, right? Some detective movie is happening or whatever. So what I'm trying to say is when you hear a song, the quality of the chord itself will just tell you, hey, I heard a major chord and then you can do trial and error. Like if you're in a major scale, there are three major chords. Now if you just came from a major chord and if you assume that probably the first chord of most songs will be the tonic major, which is in the key of F major, it'll be F major. And the next chord you heard is also major. So then it could either be B flat or C major with the four chord or the five chord. That's one out of two. So I think if my strategies in this video give you kind of a trial and error job of one out of two options or at the very worst case one out of three options, I believe I've done my job in conveying the topic to you. Because that is how even I do it sometimes still this day. Sometimes I'm also trial and erroring things, but at least I'm in a ballpark of what I know is bound to be right. It's not like I'm doing trial and error between things which are not not at all going to work. I know it's one of those chords. So if you know that it's major, you're in luck. If you know that it's minor, you're in luck and chord qualities are beautiful. It's a beautiful topic to study. If you take a dominant chord, it's completely different vibe, right? That's a dominant seventh chord, which is yearning to go somewhere. So if you know that, hey, it's dominant, you can not only say that it is a C seventh, a C, a five. It can also predict what is a five normally wanting to do. What is a seventh chord like to do? It likes to resolve to its one. So you don't even have to hear the next chord. You can guess, oh, C seventh has to go to F because my theory is sound. I know my theory. So you need to find methods also to predict. So coming back, chord qualities are so many. You have a major seventh vibe, which is very dreamy, romantic, sitting on a beach and chilling out, I guess. Then you have a diminished seventh vibe, which is very interesting. It's almost like you're confused. You don't know where to go next. Then you have like a minor major seventh vibe, which is used almost all the time in James Bond movies. So in other words, you can have like stable chords, unstable chords, very unstable chords. It's the Jimi Hendrix chord, by the way, you can even call it E-Jimmy or something, right? Otherwise, you have to say E seven, sharp nine. Man, that's tricky. So you have these chords, which almost tell an entire story of their own. They have so many notes. They're almost a scale. That's how you can go with chords as their emotion. Also, what I call is chord quality. The other thing, which I think works a lot for Indian classically trained musicians is in India, when we learn classical music, we are very familiar with the degrees of scales. Like what is the one in our head? We know, let's say if I'm on the A major, I know that A is going to be my sa. And anything else apart from that, la-ra is the pa, sa-re-bi, sa-ga-si-sha, sa-ma-ti, sa-pa-i, sa-dha-f-sha, sa-ni-ji-sha-prada-tens and sa-sa octave, sa-sa-sani, sa-dha-sapa, sa-ma-saga-sare-sa. So we have these words for these sounds. And the sound is not, we are not calling C sharp as G. We are calling the vibe created between A and C sharp as the G, or as the third, or as the major third, as we say in western music. In a way, all of these ways of learning music are almost the same. They all want you to achieve the same goal, if you think about it. So A to C sharp, if you can hear that in a chord progression, especially the bass notes, like sa-ga, and if that bass is so clear, if you accentuate it, sa-ga, you heard a girl, what is the girl? The third degree. Third degree in a major scale is what? Major chord or minor chord? Minor, right? If you know your theory, so what's the root A? What's the third C sharp? What is the third going to be C sharp minor? Voila, you got the chord. It's job done. So if you know your intervals, you can really get to your chord degrees faster. Remember, this is a process. This is not, I mean, there are a lot of words like instant on YouTube, instant way to figure out chords by ear. I hope we've not used the word instant. We're going to remove that word. It's not a good word because ear training is not going to happen overnight. It won't even, it'll not happen overnight. It's going to only be a gradual process, like an athlete trains a muscle or develops a skill, so we do on our respective field, in our respective field. It's a gradual process and the main word which you need to keep pushing yourself to achieve is be patient. You have to work on, even if it takes you a few hours, well, you have to deal with that because training the ear, what's good about it is if it took you three hours to figure out the chord progressions of a song, which may be less or more, that's not what I'm trying to say here. Let's say it took you three hours to do the first song. I can guarantee you that the second song will not take you three hours. It'll take you maybe an hour. It'll be exponentially easier and then you can do probably after a month of doing this, you can probably tackle three songs in an hour and then you can do an entire album in an hour. If it's a pop album, if it's Queen, it's going to be tricky. If it's Beatles, it's going to be tricky. So, that's how you can figure things out. It'll take you like no time. It can come down from like days to hours to minutes to the length of the song. Like you won't even need to hear the whole song. You can just know the chords before the song only finishes, right. I'm not trying to show off. I'm just trying to promote the use of our ear when dealing with music. A lot of people like to go with other strategies. You have notation. Staff notation. How on earth is it always going to be 100% right? Are you telling me that Coldplay wrote their own notation and gave it to you on a platter and said, these are the chords of this song. Take it. It's 100% right. I would not trust the chords of the song unless it came from the artist himself or herself or themselves. I think. And notation glamourizes it a bit. It kind of tells, it makes it look fancy. So because it looks fancy, we think, oh, it has to be right. I have to learn it. And it creates a psychological problem in a way. So, YouTube videos also, which video can you trust? Can you trust any video? Even if I teach you a song, can you trust that? So you have to use your own gut, your own instinct and your own skill to even know if the content which you guys are using and finding and searching for are right in the first place. That's why I urge you to develop and take your time to develop strong ears. Developing strong ears is just like doing more and more push-ups over a given amount of time. It's a process. It will not happen overnight. So I have one more strategy to figure out chords just before we sign off. I'm very excited about this. So one thing which appeals to me when I'm listening to a song is just look at the energy states of the chord. So can you just determine a chord by being maybe unstable and stable? So if you feel that instability leading to something normal, that is essentially what this art form is about. It's carbon-copying. It's almost a replica of a visual dynamic art form, which is a motion picture or a movie. Ours is also a dynamic art form. It's just that it's not for our eyes. It's more for our ears, isn't it? So when we hear visualized music through our ears, so to speak, we are feeling the same thing. And the artist who's creating the art wants us to feel the same thing. We want that ebb and flow of emotion. Like a movie is not all suspense all the time. It's not chaotic all the time. Even in a horror movie, you will probably find someone sleeping peacefully somewhere, which is also scary sometimes. But still. So the point I'm trying to make here in any art form, you need that ebb and flow of emotion. Emotion being tense and the emotion being resolved. You cannot have only tense and if it's only resolved, you won't bother watching that particular movie. So using that, there are some chords using music theory which are dominant chords which have a sense of, you know, an instability. Then you need to figure out how to slowly make it more stable. In this case, very stable. You know, you can do this in so many ways. And musicians are generally branded by the greatness of their chord progressions using this whole ebb and flow. And that's why we like the greatest songs, the timeless classics, if you will. And the 2-5-1 Jazz cadence is a great example of this phenomenon. You have the 2, which is nice, but it's getting very tense there and now it's very stable. So almost every jazz song. There we go. This goes on and on. So if you can now brand that pocket that in your brain and say, hey, I heard this in that other song I did last week. There we have it. You just heard a 2-5-1. So a lot of this comes with familiarity. Just like how we know the face or, I don't know, maybe the fingers or the hands. It's kind of creepy. But if you know, you know, people's appearances, you know, or the clothes we people wear or objects of interest or food items, whatever it may be, why can't you identify that with chords? How are chords any different? It's all going to the same brain at the end of the day. All of our sense organs are damn good. We know that. So use your ears more. That's pretty much what this lesson is all about. And I always come back to two things which I'll do at the end conclusion. The first thing is what I told you at the very beginning, plan, prepare and get into an environment, a very respectful environment where you are a student doing this job at whatever age or level you are. You have to be a student when you're learning a song. So make that environment, prepare, write down your chord, where it's changing, how long is every chord. And last but not least, if things fail, go through a trial and error cycle. Like try it if it fails, try again. And generally I like to work till my brain is a little bit fried up. Like I don't like to end my work when my brain is like relaxed. I like it to be as excited or a bit stressed. The reason why I think that works and some of you psychologists out there can tell us in the comments is the next morning when you wake up, for some reason the subconscious mind, because you put in a lot of effort the previous night, it's going to do its work while you sleep. And that's something which I found almost every day of me figuring out music. It's a struggle. The day you're learning it, it's a struggle. It's a chaotic struggle. Sometimes after doing everything well, you still can't execute it. You can't play it, you can't hear it, you can't do anything. Try it again the next morning. It's going to be much more easier. But don't forget to try it the next morning. In other words, you should not give up. You have to keep at it and it's a beautiful way to learn music and it's a great way to bond with music. I understand their sheet reading, I understand there are so many visual aids for music out there but the best way to bond with this incredible art form and to make it your own is to just do it from the source into the source, the music and your ears. It's as simple as that. Hope you guys found the lesson useful and another reminder, there will be exercises waiting for you on our Patreon page. Do consider getting yourself a subscription. It's a $5 a month thing on patreon.com. Thanks again for watching the video. See you in the next one. Cheers.