 Okay, now we're going to see how we incorporate these different chord qualities into jazz music and really almost all jazz music is based on what we call two-five-ones and they're kind of hidden in different keys in some pieces, but once you understand that terminology and start to listen for those, you'll see them pop up everywhere in jazz. Here's an example of, in the key of B-flat, here's the two chord, which would be the C minor seven chord. Okay, so if you take a look at the chord I just played, we have the C, the root of the chord, E-flat, the third of the chord, and B-flat, the seventh of the chord, and if you remember what we talked about with chord qualities, if we have C, E-flat, and B-flat, we have a minor seven chord, okay? And also if you remember we talked about where do the chords come from within the scale, the minor seven chord is the two of the major scale. So we're going to assume then that if C is the two, B-flat is the one. So if we're looking for B-flat, a B-flat dominant seven, or a B-flat major seven, okay? The key we're in, the C chord is our two, and the F dominant seven would be our five to take us back to, we're going to go ahead and use another dominant chord for that one chord. So if we put those together we have the two, the five, and the one. Now you'll notice as we talked about in earlier videos, our right hand really doesn't have to move very far. For the one chord we have the D and the A-flat for the third and the seventh. For the two chord they both move up to E-flat and B-flat, and for the five chord the E-flat actually stays and becomes the seventh of the F-chord. And the top note comes down a half step to give us our third. So there's our F-chord, F, here's the A, the third, and the seventh. And then once we go back to the B-flat, we're going to use again the dominant seven instead of the major seven for now, just in the chord progression that we're going to play with. So if we use those three note voicing examples and let me start for you a little accompaniment track and let's see if we can play those together. Okay, so you see from the B-flat to the C is a minor to the five F is a dominant and back to one. And again you're going to see what we call two five ones hidden all over the place in jazz. They may not always be in the original key you start in, so I'd encourage you when you see a minor chord followed by a dominant chord look for or try to determine if that is a two five progression in a different key maybe, especially if it's using accidentals you might consider that. So experiment with this two five one idea in the key of B-flat and maybe in the other keys as well. I would encourage you to take a look at the key of F and maybe even the key of C to start with and then venture around the circle of fifths until you've covered all the keys in the two five one progressions.