 Hi, everyone. This is Jason here from Nathaniel. Welcome to this fourth part on basically how to make chord progressions your own develop your own vibe or personality or flavor and Basically have a lot more fun playing your chords. So the same chords again all through our series C major C dominant 7th with an E bass Or then we have the F major And then F minor with an A flat bass C major C dominant 7th with an E bass F major F minor with an A flat bass and then back to C Okay So the first way to kind of look at these chords or analyze the chords is at the end of the day They either have three notes which could be the triads or they have four notes Which could be the seventh chords or the extended chords or the extended triads Now when you have a three-note triad or a four-note chord you have three ways of playing them also known as inversions So if you observe our lesson so far, we've always been playing C major like this Now you could even play it like this C E G E G C Okay, so you have your root position which starts on the root C You have your first inversion which starts on the C at the top and then you have your second inversion Which I don't want to play so high so I play it here which has C or the root in the middle So when you're building an inversion, yes, you should look at the roots of the chords But also just write them down write down all the available shapes and that can really help you decide Especially for the first chord the starting point for the entire chord progression because once you start a chord at one position you tend to Play the rest of the chords also in that area to to ensure for you know ease of playing or More importantly proper voice leading not that you have to follow it that way you can also do You can Also change your inversions, but generally you play your chords together so that it's easy to play You don't have to look at it too much and it achieves good voice leading So the original progression we played was like this using these inversions C7 to F major And then we go We can start from the default from C E G the root position of C and then let's see what happens Now You could play C dominant like that Or C E G B flat at the top or B flat C E G with B flat at the bottom so Okay, but I would prefer maybe for this explanation Play the B flat at the top which then goes to C F A C F E flat You see this melodic line being very well placed right and it's sort of very obvious as well Because it's at the top end of the chord the top note of the chord becomes very very easy to hear like a melody. So F minor with the A flat G C B flat C dominant to At the top over F major F flat at the top F minor. So just gives you a different vibe all together So With the B flat F with A on the top F minor A flat on the top, right? So we looked at different bass notes We're also now looking at the right hand and the topmost note of the chord of the right hand Becoming its own, you know the melody of the song or the theme of the song, you know So be aware of that and also helps if you sing that top note like maybe C7 with the B flat I quite like that you can do C because C is also part of the F major chord. So And it's still within the same inversion set, right? So that was a different vibe compared to the original version, which I also like This is another great opportunity to explore what the chords are actually doing to the song Okay, and what's the other possibility you can do E G C Which is the first inversion of C major chord Even do C7 like that E G B C or Just climb up. I quite like that Keep it more like the way inversion should be, you know convenient and in the same box You see the C at the top of all these chords, right? If you want to break that You can even change change them during the play, you know Really create a vibe, you know Which which just sort of puts a stamp on a song now why I like inversions Especially if you're also a music producer, it's not only about the chord sounding or feeling easy to play It's also about how you react with the music, you know when you're Listening to it back after you have maybe programmed it or arranged it using midi Especially for music producers use midi where you now when you see these chords It's always easy to see them one three five one three five In fact most of the chord loops which you download from the internet, you know for a fee for some reason always Don't invert the chord. It's always one three five and that I think is really Silly if you ask me right in a sense You have three ways of playing a chord in closed position. You have other ways also, you know You also have ways in which guitar players play cards. You have ways in which banjo players play cards So always learn what sound you want for your music and don't rely on the loop Or don't rely on some visual aid to help you with the chord. You have to always use your ears So so far in this lesson, we've looked at using different inversions and with each starting chords Inversion you develop, you know a different vibe altogether with the chord progression Now you can also play around with that inversion a bit more I'll just play you and then teach you Okay, so what did I do there basically I'm in a shape right? I'm in a handhold Which is here, but I have a couple of fingers free So you could explore a few other notes at the top end of the piano Just around this area and just see if you like them within the bar or within the chord playing and There you have your melody or your theme, you know, which creates a very unique riff like sound Which people will remember. Oh, it's that song, you know, which which they are playing so you go So what am I doing there? Okay, again, this is very random But I think you can learn this and then take it from there and then see what you want to do. Okay What did I do there? Then B flat B flat C B flat so essentially just sort of breaking up that chord and just choosing the B flat and then the C choosing one note each of that chord and Or the dominant seventh chord and for the first chord This adding the top C to the C G B flat C B flat now Just adding that top C You can play it like that with the swing So since I'm on the F minor hold I can do Like that or Can even play like a B flat which is quite interesting Even though it's not part of the chord. Well, it is part of the scale. So it just adds that additional chord color Suspended color right Can even do this at a tritone While you're playing the first chord C major so Or Very both the notes so C major maybe you get the C diminished sound as a passing flavor And feel free to not play the notes evenly the more melodically you play it like when I did the C chord I did Okay, and then That's a different rhythm And then a little lazier laid back La Let's just stick with that Very simple left hand left hand is just chilling out right now Explore from them Lots of stuff but well on paper the chord progression is just the same So if you're looking at this in an orchestral point of view You could even look at this to explore What the piano is doing in order to get other instruments which you're going to later program or produce Being a better word or arrange with what the piano just composed, you know, like Maybe that could be a horn section The strings So you can actually think of it orchestrally and see okay, this is what I'm doing on the piano record it You know absorb it a bit and think beyond the piano if you will you can be like, okay Um, maybe I'll relax the piano play it like how I used to play But then all these other chops or these other creative riffs or phrases which I built can be maybe played on other instruments You know, so what have we done in this part everyone? We've looked at first of all the idea of starting on different inversions And don't forget or make sure if you have if you're not so good with inversions I've done a lot of lessons on chord inversions I've done so many that I've put them in a in a big playlist with all the inversion exercises And I start from the absolute basics from the beginner level So if you want to get a structured approach towards just inversions Head over to the inversion playlist, which will be in the description or somewhere accessible Okay, so we started off with our different inversion starting points by playing with these inversions We we generate different higher You know textures which are going to inspire the melody and then we kind of wavered or wandered around those higher notes To kind of create an actual melodic theme which ended up being something like this A little slower This is actually speaking. It's quite cool because you're not even thinking of melody when you're playing this stuff Right, it was still chords with the swing rhythm the overall Time feel of swing or triplets But somehow by just changing the inversions a melody just gets born which is sort of like how A fruit just somehow grows on a tree, you know You just do your job water the the tree and let it grow well and healthy and the fruit just comes out, you know And you then of course eat it. So this is about part four I have one more part for you part five where we are going to just put this all together And look at this as a composer how you how you can create different sections of a song Using pretty much the same chord progression. So in a way, we are kind of putting everything together It'll be a great revision But it's very important for you as a composer if you're looking to use this and not just play like a small Little, um, you know 20 second kind of loop or whatever you want to put this into your next song. Hopefully so come over to part Five head over there. And if you haven't already, please like this video Watch the earlier parts if you haven't already subscribe to our channel Consider downloading our pdf which is available on patreon with all these notes Share the video like the video and whatever else you can do. Cheers