 Hi guys, welcome back to part three in this part We are going to look at how to color up the predominant with even more options These options are going to basically be using first of all the suspended chords So a suspended chord will be really great if you use it prior to the next chords Major or minor so if you look at an a Suspended chord as the predominant it can definitely lead nicely to the normal a major Dominant chord, which then resolves to the tonic. So it'll sound something like this So that's a sus a major Resolves back to D minor. So you don't have to just play the normal a sus 4 which is a de well you can that's also awesome. So a de a seshia pd This works great. You should actually try this first, you know a major Back to D minor Asus 4 so to build the sus 4 it's root perfect 4th perfect 5th, so Beautiful sound Ta da Okay, now let's add some more vibe to this suspended feeling the whole idea of the suspended chord is Your bass needs to be a and it has to be a something because the following chord or the upcoming chord is a major You know, so the first option we saw was asus 4 There are other suspended chords, which I like using you can consider this one Which is a sus 2 plus sus 4 it's like a b d I don't know what the official name is for this chord, but it sounds great a b d Resolves and back Right another great suspended opportunity will be Can take the sus 4 the perfect 5th e and the flat 7 g Right you can do like a run if you like it's a nice suspended chords are nice to do these little Piano runs, you know back Right other opportunities for the suspended chord could involve you can just play Triads which are not part of that bass what we call a slash chord so two things which I use very often one could be a little bit more tense you can do like a b flat in your right hand and a a in the left hand Sounds a bit fridgian if you ask me, right? But it suspends that a major that's why i'm still using the same family of chord which chord type rather which is suspended so B flat over a a and then it resolves back to D minor could also do G minor in your right hand and a in the left hand so still suspending the a major Beautiful sound can even do a g major over a But that feels a bit more uplifting so I prefer g minor or b flat Since this lesson is about the minor or the Pensive tonality in our chord progressions. Okay another thing you could do over that same a bass Is to look at this as a D minor scale and build what we call as Quartal chord so a quartal chord is nothing but a chord built using fourths as opposed to normal conventional Thirds major and minor thirds which build triads so you could use these quartal voicings over a bass and Think of it as D minor scale You know and build some quartal shapes Right So this quartal may work adg or dgc So what is happening here? You have this scale and you take the root The fourth not the third and then fourth from the g you can even do E quartal with an a bass You can even do f quart F quart and to put this into perspective Works quite well right so quartal chords I guess are an acquired taste, but it works now another great chord to kind of conclude This part on the predominant chords, which we've needed two parts for will be the diminished seventh chord So a diminished seventh chord is something you really need to enhance your learning with So what it can do is it can pass and go along to all sorts of chords, right? It's not just one specific chord So to use it in this context, I'm going to bring out the g sharp diminished seventh So how do we build a g sharp diminished chord to begin with you do root minor third another minor third or a Tritone from the root so you go And then another minor third Or we call this the diminished seventh It's also kind of the sixth There's a lot of tension there, right? It's also g sharp, which is one semitone away from the a So it works quite well And the diminished chords are very diminished seventh chords rather are very symmetric so you could go In versions of these chords it would work really well Could do that sort of thing like You can do these arpeggio runs And then finally resolve it so this so this is all about the predominant chords And that's just one chord in your minor cadence, right? We're taking predominant then we're taking dominant and then finally we're taking tonic So in the next part, we are going to look at everything to do about the dominant chords Or at least what I have been using a lot in my music with the dominant chords I hope that helps you and I hope what we've done so far in our lesson series has helped you if it has Do like the video leave us a comment Also share the video around and don't forget to subscribe and stuff like that to help our channel grow And all our notes are available on patreon All you have to do is just hit the link in the description and you get an access to all of our Handwritten notes and your support means a lot. Cheers and see you in the next one