Now, once you have the three basic notes,
you can expand on that chord.
Instead of just playing these three
[SOUND] you can take the most important
note of that chord, and double it on top.
So here [SOUND] is the same G major chord,
with the G doubled, eight notes above.
This is a G, and this is also G.
This would be a full chord.
So if you're looking for
a rich sound, the more notes you can
put together, the richer the sound.
There's a G major full chord.
C, then double the C down here,
a C major full chord.
Now here, a D major full chord.
It's really good to practice
finding them [SOUND] quickly.
[SOUND] Because once you understand how
those are constructed with a much more
open hand position, then it opens up
some more interesting ways to improvise.
So now that you've taken a look at these
full chords, let's look at some
cool ways to break them up.
Here's an example of
a full chord played as
a broken chord, so
I'm just taking the bottom note and
filling it up with the remainder of
the chords, but in a fuller pattern.
it sounds a lot
Okay, so much richer harmony, because you
have more voices playing at the same time.
Once you're comfortable with that,
let's expand on that a little bit more.
Now here is a way
of breaking your chord
that sounds even richer
What I'm doing with this,
is instead of playing the root right next
to the other notes, I'm gonna push
this root down an octave lower.
Sounds really rich.
Now, to take advantage of this, you really
want to use your damper pedal, the pedal
that's gonna be on the right, because when
you push it down, that note will still
sound, connecting it to the next part
of your chord, change your pedal.
This is obviously a bit trickier because
you have more distance to travel.
But if you're uncomfortable with
creating this chord, with some practice,
you'll be able to navigate
the geography of your keyboard, and
quickly find the remaining positions,
of the rest of the chord.
So let's see what this
Another idea is to combine these
really extended base ones with,
basses that are closer together
the rest of the chord,
again, you have more tools
now to improvise with.
Maybe I'll stay close to here, and
maybe I'll finish it closer to here.
Again, some neat options here.
All right, just like we can outline
[SOUND] chords in three-note positions,
we can outline [SOUND] full chord by
just leaving that middle note out.
This can be sometimes be helpful.
Now, listen to how this chord
sounds [SOUND] down here,
that's a little muddy, isn't it?
[SOUND] The further down in the bass you
are, and the closer together your notes
are, [SOUND] the more
muddled the sound will be.
If you wanna use low notes
which can be rich, but
you have to be careful that you don't
overpower the texture of the right hand.
[SOUND] What you can do is
you can [SOUND] open them up.
[SOUND] So, play an outline of
the chord instead down here, see that?
[SOUND] Here is a full chord
outline [SOUND] for C major.
Again, [SOUND] leave that middle note out,
[SOUND] just playing this,
and [SOUND] D major.
[SOUND] Another option for
you to play with.
Amazing Grace Melodic 10ths
>> Now, let's bring that middle
note back but in a new pattern.
Once you're comfortable
opening your hand up,
now I want to show you melodic 10ths.
Remember when I told you when
you play low on the keyboard,
if your notes are really close together,
they can sound a little muddy.
One excellent way to keep the notes
that you need, to make the listener
hear that they understand the full
harmony is to move another note.
So remember how we moved the bass note?
[SOUND] And moved that on top and
double it to make a full chord?
Well I'm gonna do the same thing but I'm
gonna move this middle note [SOUND] and
instead of playing this I can play,
ooh!, now this sounds good.
Even down here it sounds
a lot better than this.
See how muddy that sounds?
Sounds much clearer because your notes,
your low notes, are spaced further apart.
We call this a tenth because they
were actually ten steps apart.
One, two, three, four,
five, six, seven, eight.
That's a classic scale.
Continuing through the scale.
This is considered a tenth.
Or ten scale steps away from the bottom.
So these are melodic 10ths.
Now obviously it's going to involve
a wider stretch of your hand to
play that middle note an octave higher.
But it's worth practicing.
This is perhaps one of
the most used intervals, or
progressions, in any kind of
improvisation you can do.
It's so flexible, so useful.
And it sounds great.
So, practice, and use the pedal if you
can't hold and reach all those notes.
G major tenth.
C major melodic tenth.
Now here, reach up for
that F sharp, D major tenth.
Here's very useful if you don't want
to get cluttered up here,
you can move down.
Sounds a little more mature.
Than this, doesn't it?