Londonderry Air - Keyboard World Arrangement Club

[00:00:00]Keyboard World. [music] Keyboard World.

[00:00:05]>> Hi everybody. It's Paul here from Keyboard World and welcome to this the very first of our arrangement club sessions. Now we're going to look at my three different arrangements at three different levels of the tune London Derriè.

[00:00:23]I want to explain something about the concept behind the arrangement club.

[00:00:30]Yes, we're going to provide you with different levels of arrangements of many, many different tunes, but it isn't just about the arrangements we're giving you. It is, for once of a better term, the musical rules we are going to teach you step by step and in an easy to understand way that you will be able to apply to any piece of music you play.

[00:00:58]So the sole aim of the arrangement club is to stop you simply playing pieces of music and begin performing pieces of music.

[00:01:10]There is a real difference between those two statements. Play a piece of music, you open the book, you just play what's in front of you, you close the book, and you move on to another song.

[00:01:24]A performance is where you take a little bit of time to have a look through that lead sheet um or a piece of music in front of you and you begin to create a unique arrangement based on that song.

[00:01:41]Now at the side of me I have my basic version of London Derriè and as basic as this is we are still going to learn three things from this arrangement that I've put together.

[00:01:58]Majority of the chords that I've used are basic triads. Now that's a musical term try meaning three. They are three note chords but purposely I've used one or two seventh chords or to give them their correct name moving on they are dominant seventh chords. So whenever you see a letter name followed by a seven I'll refer to that as a dominant seven which differentiates it from a minor 7th or a major 7th chord.

[00:02:33]So, I'll explain shortly why I've put a couple of dominant seventh chords here and there. I've also introduced one minor chord that wasn't originally there and I will explain that to you as well.

[00:02:51]The thing I would like to start with is to for you to look at that very first bar. It contains three notes which I again giving it a simple term they are pickup notes before the main part of the tune begins. Now the thing with pickup notes is we have to get the timing right so that when we hit this point in the piece we know we must be on beat one of the first full bar.

[00:03:32]Now we can do that many many ways. If you already have a rhythm running, [music] then what you would have to do is count like this.

[00:03:44]1 2 [music] 3 4 1 2 3 4 [music] 1. And then when I hit that C chord, I'm on beat one first full bar.

[00:03:59]The easiest way around this is to use the synchro start and not play any chord on those pickup notes.

[00:04:10][music] And then as you put your first chord down exactly with that E note in the melody, we will be on beat one, bar one.

[00:04:22]The real problem comes if you want to use the automatic intro. And because this is the most basic of our arrangements, we haven't gone to the trouble of writing our own intro out. So very important this when you press one of the intros. I'm going to choose intro two here. And this doesn't matter what keyboard you have, you just need to know how many bars that intro is. In this particular case, I can look in the screen as you could can on most keyboards and it says we're about to start bar one of four. So, when we have pickup notes, do I let the intro finish and then start? Ideally, no.

[00:05:05]That part bar that contains those pickup notes needs to be part of the final bar of that intro. and then the whole thing sounds very professional and slick. So, let me put the synchro start on. We'll begin this intro. I will count the number of bars. When I get to bar four, I will do my counting of rest, play, play, play or rest, 2, 3, 4. And that will then bring us to beat one at the beginning of that first full bar like this.

[00:05:45]2 3 4. Here's bar two.

[00:05:49]Here's bar three.

[00:05:52]Get ready to play. 1 2 3. [music] And we're in. So, it's really really important that you understand the concept of pickup notes and you understand how to get the timing of th those notes correct. Okay. So, we carry on through the piece of music.

[00:06:16]The first two lines are all basic triads. But then when we get on to line three, as I'm just highlighting for you, we have our first dominant seventh chord, a G7th, where ordinarily it would have been written as a G chord. So why have I made it G7th? Well, this is rule number one that you are going to learn.

[00:06:41]What we have to do is we look at the next chord in our piece of music. And for future reference, I will always refer to this as the target chord. So our target chord is C.

[00:06:58]Let's play a note of C.

[00:07:01]to find out which dominant seventh will ideally precede that and will naturally um resolve to this target chord. All we do is we count five in the scale of the chord we're going to. So we're going to C. I count up five notes in the scale of C. 1 2 3 4 5. It takes us to G. So I know if I make the G a seventh, it will be a natural progression to take us to that C chord. Why? Look, if I play any major or minor chord, they're very stable chords. They're not telling your ears that they need to go anywhere. [music] I could leave that chord on forever in a day and it's not pulling me in any direction. I could do exactly the [music] same with the G chord.

[00:07:58]It's a resolved [music] sound, a resolved harmony. But if I make it a G7, it's there's a sense of anticipation now. It's waiting [music] to go somewhere. And where is it going to go?

[00:08:14]It's going to go to [music] the C chord.

[00:08:17]It's just a natural progression. And we call this the five one progression because the five of the chord we're going to is the chord that naturally takes us there. So that's why we've used that. It makes it sound a tad more professional straight the way. Where else have I used it? Look, G7 taking me to C.

[00:08:48]I've used one down here, D7, taking me to G7. So, this is different. Our target chord this time was a G.

[00:09:02]If I count up five in the scale of G. 1 2 3 4 5. We found our five chord. It's a D7th.

[00:09:12]You must add the seventh on the end. So D7 naturally takes us to that G7. And then in turn G7 takes us to C. So we have a 51.

[00:09:25]But in turn that is also a 51. Please excuse me looking down. I'm just looking at the uh the music down there. So that is rule number two. We are going to learn the 51 chord progression. I'm going to give you an example here. I haven't done this on purpose because this is the basic copy. But imagine we were looking to put something in before that F chord. So our target chord is F.

[00:09:58]I need to count up five in the scale of F. 1 2 3. There's a B flat in the scale of F. That's four. Five takes me to C.

[00:10:09]So C7 will naturally take me to F chord because that is the 51 progression.

[00:10:16]Well, if we look a bit earlier, we're already on C. So if I made that C7, that should naturally then take us to F. Let me just play it from the beginning of that line. And let's see if that works.

[00:10:33][music] Here comes that C7.

[00:10:37]Beautiful.

[00:10:39][music] This is all about just creeping your playing up to that next level. And that will do that. The final musical rule for today involves this chord here, A minor.

[00:10:59]Ordinarily, that would have been written on a lead sheet as a C chord. So why I've been able to put a minor?

[00:11:09]Well, this is your third rule.

[00:11:12]Any major chord can have a relative or does have, should I say, a relative minor chord. And providing the melody allows it, and that means there's no clashes between the notes we're going to play in the left hand and what we're playing in the right hand, we can some sometimes substitute its relative minor, and it gives us a different sort of harmony.

[00:11:38]This sounds a lot more complicated than it is. You basically need to be able to count to three. So let's imagine I've got my lead sheet and originally that was written as a C.

[00:11:53]All I need to do is count down three semmit tones. 1 2 3 and it takes us to A. So A minor is the relative minor of C major chord. And as I said earlier, that means if we see a C chord and the melody and the feel of the song allows it, we could substitute that for a minor. Let me just play that line from here.

[00:12:25]And I'm going to play it first imagining it was the original C chord.

[00:12:33][music] And that's fine. That will sound correct. Let's try it now as an A minor chord.

[00:12:50][music] [music] Do you know what it's done? It's given it a much warmer sound and it still sounds beautiful because we got a C in the melody and there is a C in an A minor chord. So it fits perfectly.

[00:13:11]So that is rule three. We can substitute a major chord for its relative minor.

[00:13:17]While we're on this subject, you can reverse that. So if you'd have seen that as a minor and you wondered what its relative major was, then you just reverse the process and you count up three semmit tones from a 1 2 3 and that becomes your relative major.

[00:13:39]The final thing just before I play this piece that I want to just point out to you and this is really really really important moving forward is that this is a lead sheet. Many of you will play from lead sheets and a lead sheet lacks one thing. It has no expression and it has no emotion. that is down to you to add.

[00:14:08]So when you see a lead sheet, it's often written in a quite a simplified way. Not just the chords, but the melody is written in a form where we can all read it, but the idea is that we put our own interpretation. So do I want you to play this very rigidly as it's written? [music] 1 2 3 4 [music] 1 2 3 The simple answer is no. That's not how I want you to play it. I want you to put some feeling into those notes. And this sometimes involves speeding some notes up, holding back on some notes. I think you'll see what I mean when we just play through this performance. I will use the automatic intro and when we get to the end I will use the automatic ending. So this is how you should be able to perform this basic uh copy. What I am going to do I'm going to remove some of this scribble now so that you can see we're back to exactly where we were and exactly the copy you have in front of you.

[00:15:26]So, here's bar two [music] of our intro.

[00:15:30]Bar three, we must get ready to play [music] rest.

[00:15:47][music] Here's [music] half five.

[00:15:59][music] Another five.

[00:16:17][music] >> [singing] [music] [singing] >> There's that minor chord.

[00:16:45]Five one.

[00:16:47]And another five bar one.

[00:17:01][music] >> [music] >> So even with the most basic of arrangements, applying uh two or three of these rules and putting some expression, you can actually end up with a really really nice result. So, we're going to move on now to the intermediate arrangement.

[00:17:47]Well, welcome to this uh second part where we take a look at our intermediate uh arrangement. Now the minute in my head I start to veer from the printed the basic printed copy and create let's call it an arrangement because if even if you make minor changes it becomes an arrangement rather than just playing the the dots that are in front of you. So, the minute I start to do this, one of the things I try very hard is to steer away from using automatic intros and endings. That's not me me being critical of them. What I'm saying is if you're going to arrange something unique to you, you want to have an intro and ending that is more dedicated to the piece of music. So on this arrangement there to there I've actually followed a very simple rule and that is you take the last four bars of the piece and you make that your intro. It gives you a well it sets the stage for the piece of music and of course because it is part of the the known melody.

[00:19:01]It really sets the scene for this actual tune. No other. Okay. So we've taken the first four bars. It just so happens in this case that those first four bars also include what I'm going to call some pickup notes. Again, we've only got a part bar because we start actually on a rest. So again, be mindful of the timing just like we talked about in the basic copy. Our basic copy actually started here on bar five of this arrangement.

[00:19:34]And there were those pickup notes that we talked about in the bass arrangement.

[00:19:40]Now, one thing I want you to notice, I've put a chord over them this time.

[00:19:46]And this will elevate those pickup notes even further. And I've picked G7. Why?

[00:19:53]Because of the rule we learned in the basic arrangement, which is our 51. Our target chord is C. Therefore, the five of C, as we worked out before, is G. 2, three, four, five. So we make it a G7.

[00:20:10]So that again is another example of a 51.

[00:20:16]The next two bars you will see two things. Another example of a 51. C7 taking us to an F chord. Our destination, our target chord is an F.

[00:20:29]Let's go up five. 1 2 3. Remember the B flat [music] because there's a B flat in the scale of F. So we get to C. So C7 naturally takes us to F. But have a look at this chord.

[00:20:42]This time I've made it an F major 7. Why have I done that? Because a lot of semi-pro and pro players will very rarely be seen playing basic triad chords. They will always, where possible, look to enhance those chords.

[00:21:02]Making a basic F into an F major 7 again gives you that lovely professional um elevation to it. And it's it is a richer sound. There is a basic F chord.

[00:21:17]Now we'll [music] add the E at the top.

[00:21:20]It's a much richer and fuller harmony.

[00:21:24]So that's why we do these things. If it was a minor, maybe try making it a minor 7th. Um, but majors to major 7th really, really works well. So, yeah, another example of a 51.

[00:21:40]So, we learned that in the first one. On line two here, we begin with what is the first real major musical rule for this arrangement. And that is we're going to now extend this to make this into a 251.

[00:21:59]Well, we've already mastered the 51 bit, so we've got to add the two. Well, let's look at this first couple of bars on line three. Our target chord is C. We've already worked out that the five that takes us to that C is G7. How do we find the two? Well, our target chord is C.

[00:22:24]There's the two. The very next note, one, two. And the rule is we make the two into a minor or a minor 7th.

[00:22:34]That is the rule when our target chord is a major chord. Let's worry about when our target chord is a minor chord when we look at the advanced arrangement. For now, uh let me assure you when we're going to a major chord, the two will be a minor 7th ideally. If you can't manage the four note chord then D minor will suffice. Then this will be a seventh chord which we've already ascertained before and then that takes you to the major chord there.

[00:23:08]Worst case scenario a minor to G major if you want or any major chord and then resolve to the other major. Okay. Um look [clears throat] more examples of 51s here. There is a 5-1 D7 takes you to G. Why? Because five up from G is D. You make it a D7.

[00:23:32]I think what I need to point out is you will have all played five ones and two 51s before without realizing it.

[00:23:45]I'd like you to take from this lesson the understanding of how we form those and where we put them.

[00:23:55]We use them because it gives the music a lift. It's a special moment in the music.

[00:24:02]But, and here's the real big butt, if you do it on every possible opportunity, it no longer becomes special. you normalize it. Same with any of these musical rules that we're teaching you.

[00:24:19]If you overuse them, they no longer have that element of surprise and they no longer provide you with that contrast, that light and shade in the music if it's going to be the same all the time.

[00:24:35]So, be mindful of that, please, as you go through. Um, I'll give you one other example of a 251 and it is on line four here. G minor 7 to C7 to F. Our target chord is an F. So the two is a G. And we've said our rule is a minor or ideally minor 7th. And the five, we worked that one out before.

[00:24:59]It's a C. So G minor 7 to C7 to F. I've made the F into an F major 7. Why?

[00:25:06]because it just gives us that richer sound.

[00:25:10]Okay, so we have more examples of that as we go through. Um here we come down here. We've added some harmony to the right hand. This is just to break up the fact that we're playing single note melodies. Now, in these particular lessons, uh, with London Derriè, this is all about changing the harmony to elevate your piece. By harmony, I mean the left hand, the chords.

[00:25:42]You don't necessarily have to do anything to the right hand. I think that's what we're trying to prove in this. Um, just by elevating and having a better understanding of your harmony means you can create a a professional sounding arrangement, keep the melody the same. But I decided to just bring again for a bit of contrast, bit of light and shade. Um, just some harmony notes. [music] Now the rule here whenever you add additional notes in the right hand the melody must always stay at the top otherwise you lose the melody. The notes you add below will be notes from the chord you are playing. So that's how that materialized.

[00:26:32]Now for a real biggie the last but one line right at the end the key signature changes. We've been playing in the key of C because there are no sharps and flats shown at the beginning. We've now gone into one flat. One flat being the key of F.

[00:26:51]And we're going to transpose. This is a great way again of giving a lift. How many singers have you heard on that final chorus? They do a key change and it it does it makes you listen every single time.

[00:27:07]I know we can all press a transpose button and that is the very easy option and it goes up in semmit tones at a time. I've gone from key C to key F.

[00:27:16]Why? Well, because I finished on C chord and my easiest way then was to make that into a C7th just by adding the one [music] note. And we've already worked this out because of our five rule, one rule that C7 takes us naturally to F. So I moved to F.

[00:27:40]What I've actually done is created an arrangement which is one and a half times through the piece. So we've played it all through in C.

[00:27:48]Instead of going back halfway and playing that in C, we've gone back halfway but transposed it into F.

[00:27:57]Transposing is a is a counting game. I'm not going to go into too much detail now, but think of everything as single notes. I often find this much easier.

[00:28:06]We've been playing in key C. We want to go to key F. To get from C to F, I have to go up one, two, three, four, five semmit tones. So you have to trust me on this. If you take every one of these melody notes and take them up five notes, you will have a melody then in F.

[00:28:28]If you look at your chords and you just concentrate on the letter name, take that letter name up five and write the new letter name down. And if there was an extension, add the extension back on.

[00:28:41]So in other words, C 1 2 3 4 5. Our first chord will now be F. A minor.

[00:28:48]Forget the minor bit. Just go A one two three four five. It'll be D. Put the extension back on. D minor. Okay, so that's how we transpose.

[00:29:01]The other reason I put transpose in musically is I have a bit of a pet hate when I hear people say, "Oh, this plays through once and then it repeats." I don't like repeats. Um because what a repeat suggests is that you're just going to play it exactly the same. I think an arrangement should take you on a musical journey from the intro to the ending. So if we're going back to a certain part of the music, I don't want to hear that exactly the same again.

[00:29:31]Which is why although we're going back to the middle section, transposing means it's different. So we're taking the listener. And don't forget, you are the listener. A lot of people get puzzled when I say uh the listener because they say, well, I only play to myself. But when you're playing, you are the listener. And you need to impress yourself as well. that gives you the inspiration to to stretch things even further. So music should be a journey.

[00:29:59]I don't want a car journey where we get so far we put it into reverse and we do exactly the same bit again and then we carry on. I want a car journey that keeps going. It's a continuous journey that has light and shade throughout it.

[00:30:16]So, let's go on to uh page two. We're just carrying on in the key of F and we get to the end. Now, I haven't done a dedicated ending here. Um, but what I have done is avoid just using those long endings or even the intermediate endings. We finish on F chord. And here's another little trick for you. Go to the five chord of that. So F 1 2 3 4 5 B flat, but make it minor. It has very much a conclusion feel to it. So F goes to B minor and resolves back to the F.

[00:31:09]And final little tip, instead of finishing the melody note on the obvious note, which is the F, [music] I stay on there to go to the B minor.

[00:31:21]But then when I go to my F, I've actually made it an F major 7. I go to another note out of an F major 7 chord.

[00:31:30]Something like the A. [music] And again, it just that subtle change in harmony from the obvious to something a little less obvious. Um, it really helps the arrangement. So, I'm going to play this for you. I'm going to get rid of my scribblings all over the music so you can hear it. While I'm doing this, we'll just recap um what we've learned here. We've extended our 51 into a two 51 and we now hopefully have a better understanding of the rule. We've worked out that if we play the last four bars of the piece of music that gives us a dedicated intro.

[00:32:22]We've worked out that we can expand on basic triads by making them into four note chords. And we've also worked out that when we've played the intro, we do a play the five chord to lead us in. And it it gives us a more natural um progression. We've learned that we can add just little bits of harmony by putting chord notes below the melody note. And we've got this nice little ending which you can use on on various pieces which is the one chord to the five chord but minor and then back to the one chord. Incidentally, just before I play it, the thing that will also make the intro stand out is to use a different sound. So I'm going to play this for you um my intermediate arrangement of London Derriè. I'm going to use the synchro star and I'm just going to play those three pickup notes.

[00:33:19]Because I'm not governed by the rhythm at this point, I'm actually going to stretch the timing of those notes out a little bit because again, that says immediately something's about to start.

[00:33:59]>> [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] >> And the key range.

[00:35:26][music] [music] >> [music] [music] [music] [music] >> So there's our little intermediate arrangement of London Derriè Danny Boy.

[00:36:26]I will be back with you very shortly as we go through our advanced arrangement.

[00:36:38]Well, welcome back to this final part of this support video. And this time we're taking a look at our most advanced arrangement. Now, just because we're calling advanced doesn't mean that a lot of you can't have a good go at this. And if you feel it's a step beyond now, you have a piece of music to work to in the future that as you sort of master the the basic and the intermediate copies, you will be able to go back to the advanced copies and it will all I promise you, start slotting into place.

[00:37:15]So, we have a few new things to learn on this one. Basically, because this is my advanced arrangement, I decided to compose a little four bars of intro. So, if we look at our little four bars here, um, what I've actually done is, and I often do this, I try and give what I call a little nod to the melody. So, my little intro phrases and I keep repeating that, but I'm alternating between the one and the four chord, which is again a common uh way of of creating a nice intro. So, in this particular case, if we were looking at um being in the key of C, C would be my first chord. Now you will see in this copy almost all almost all almost all almost all almost all almost all almost all almost all almost all almost all almost all almost all of the triads have disappeared. We've now started replacing all the majors with major 7th because of what we explained on the intermediate video. It gives that much richer sound.

[00:38:25]So one chord [music] C major 7 four chord would be the F or the F major 7.

[00:38:33]Look, just on its own, [music] that's making a nice little intro, but I decided to weave a little bit of the melody in there. Now, if you look at the timing in that first bar, we have a two beat rest and then a half beat. So, we've got one and two and three and. So we we're coming in sorry on and there four and so it's one and two and three play play.

[00:39:05]So, if we get our little chord going here, [music] one and two and three and that makes a lovely little intro. It's sort of dedicated in that if you just played that intro in isolation, people probably wouldn't immediately say, "Oh, it's London Derriè." But once you start playing the main bit of the tune, then that intro makes sense because although we've altered the timing, we've actually kept the notes of the melody the same. So, this is where our basic uh arrangement started out again. Now, if you remember in the intermediate one, we played a G7 for these pickup notes, but now because of the nature of this intro, we've ended up on an F major 7.

[00:40:03]Well, that's okay because we've got a rest here. So, it's not clashing with anything. But then I've put our new found friend, the 251, to take us to C.

[00:40:15]D minor 7, G7 takes us to C. And that has given those lonely three pickup notes that we had in our basic copy a whole new lease of life. So I'm just going to play the very first bit for you from the intro.

[00:40:37][music] >> [music] >> And we're into the main part of the tune there. Okay. You will see examples of 251s, etc. 51s throughout the piece. You will see a lot of these expanded chords where, as I said, we've made majors into major 7. One of the first new things is this little chord here. We're actually on F major 7 in its [music] root position, F A C E. And we're going to D minor 7, which in its root position is exactly the same shape, but down two.

[00:41:26]Now, we've gone down two. So, that means there must have [music] been a note in the middle. If we form that same chord shape on that note, which is the E, we're using [music] that as a passing chord.

[00:41:43]Okay. Um, so if I take it from the bar before on the E minor 7 [music] and here we are at our F major 7 [music] and it gives you that lovely passing harmony to take you down to the D minor 7. So that's always something to look out for when you have chords where the root note is one note apart. You can often put that missing note, the one that's in the middle. You form a chord on it and use that as a passing chord.

[00:42:24]Now, this is where we start to delve just a little bit deeper, but please bear with me because as with a lot of these things, the name and the description is actually worse than the execution. So, please try not to switch off at this point. Um, just follow this step by step.

[00:42:46]We have D minor 7. Normally, that would be a G7, which would take us to C. Guess what? That's a 251.

[00:42:56]So why on earth I hear you asking, have I put D flat 7? Well, this is what they call a tritone substitution.

[00:43:09]I'm pausing because I'm just wondering how many people have switched off at this point. Um, as I said, the name sounds more complicated than it is.

[00:43:17]Basically, when you see a dominant seventh chord, whether it's just in the tune or it's part of a 251, because remember the five is always a dominant seventh, you can trone substitute it.

[00:43:35]Now, all that means is you count six semmit tones either way from the chord that it is originally. So, originally, you can't see that. So, that's why I've written it on. And that was a G7.

[00:43:49]So we take G. Let's do it here. We go six semmit tones up. 1 2 3 4 5 6. D flat. Oh, now I'm understanding. What if I was to count down six semmit tones from G. 1 2 3 4 5 6. Great news. Whether you count up or down, you end up on exactly the same note. So for reasons that are described in the PDF, you can substitute where the melody allows D flat 7 instead of G7.

[00:44:26]And that is called a trionee substitution. Now what I do need to tell you is that it will fail more times than it will work. But when it does work, the result is absolute magic in my book. So it is worth persevering with it. And why does it work so well? Because it then gives you this nice chromatic bass. So we were on D, we then went to a D flat, then we went to a C. So you get this lovely descent in bass. So if I just play that one bar for you, that D flat 7, it just sounds gorgeous put in there. It could have been a D, a G7.

[00:45:15]Now, from where we were in the bass arrangement, even the G7 sounds magical.

[00:45:22]But if you can go that stage further and use the trionee substitution, wonderful.

[00:45:29]Just to reiterate it, and without fear of of doing what I told you not to do, which is overuse everything, I've put it in again on the same line. G minor 7 normally C7, sorry, would take you to F because it's 2 5 1.

[00:45:51]But that C7, I've counted up six. 1 2 3 four five six can be substituted for F sharp 7 as long as yes I can hear you shouting the answer it doesn't clash with the melody and it doesn't because there is an E in an F sharp 7 so we can use this so it's just to me. It It's magical. Every time I hear it, it it sounds beautiful.

[00:46:29]So, that is another little rule. You've learned a tritone substitution. That's posh. Now, let's move to our next little new feature, and that's this little bad boy here, C diminished, that we put in.

[00:46:45]We've just talked about passing chords.

[00:46:47]You can use these odd little diminished chords as passing chords, especially when your destination or your target chord is a minor chord. This time we're going to D minor 7. This is much easier because you only have to count to one.

[00:47:02]If we're going to D, you go down, go down only one semmit tone. C sharp. So a C sharp diminished is a lovely passing chord.

[00:47:16]to go to D minor or D minor 7. And that's why I've put that in there. So, [music] [music] final little one here.

[00:47:36]When I get to this little bit here, I'm going to play it and I'm going to pause because I want you to do a bit of listening. Your ears and your brain will tell you that it should resolve to a C note with a C chord. Now, you can do this even if you don't play by ear and you haven't got perfect pitch. It's just naturally what we all expect to happen.

[00:48:00]So, [music] Hopefully that's [crying] where you all could hear it going at the end. But we're putting a little twist on here.

[00:48:14]And this is another rule. Instead of going straight to that C chord, we count up three semmit tones takes us to E flat.

[00:48:25]We come down two semmit tones to D flat and then one semmit tone to C. So that rule will work. You'll see uh when we turn the page, I've used exactly the same rule on the ending, but in a different key. So, it doesn't matter.

[00:48:40]You just take your chord that you should have naturally been going to. So, in this case, it's C. You count up three.

[00:48:48]That gives you your first chord. You come down two from there, gives you the second chord, and you come down one, and it should take you to the chord you should have gone to or you were expected to go to in the first place. The effect is lovely. So, we'll do it from that little diminished passing chord.

[00:49:07][music] Now, I know which I'd rather be playing.

[00:49:19]So, work on these rules. Look, we're going over them reasonably quickly on the video, but everything you need to know is in the PDF.

[00:49:29]Please don't expect by tomorrow whenever you're watching this video, by the next day that you've learned all these rules and you understand them. These are rules that rely on repetition. Keep doing them.

[00:49:43]Keep practicing them. If you have to refer back to the book, you have to refer back to the uh video here, that is fine. Sooner or later, and you're going to have to trust me on this one, sooner or later, these things will happen as second nature. then you've become a performer and an arranger of music rather than just as we said right at the beginning sitting down and playing.

[00:50:08]We have one more thing to cover uh in this video if we may and that is uh here or here.

[00:50:21]When we did the intermediate, we discovered a thing called 25 1.

[00:50:30]And I told you that if the destination was a major, oops, sorry.

[00:50:40]Then you would have minor 7th, you would have seventh, and then obviously to the one chord. When the destination is a minor, you have minor 7th, but one little addition, it has a flattened fifth. The rest of it remains the same. So, we're looking at one note difference. So, when our target is a minor, we have to play the two, which is B, we apply our rule from before. We make it a minor 7th, but we have to flatten the fifth of that chord. It's one note difference.

[00:51:25]Then you go to the [music] five as normal and then to the minor. So that is the only difference. Again, this is all written out in the the PDF for you. A lot neater than I've just written it there. Um but we'll come out of there for now. So, slightly different rule. You must flatten the fifth when your target chord is a minor. And we've got two examples for you to practice that. There we then go into the transpose.

[00:51:58]Um, and we play it through in F. And ultimately, we end up here at our ending with A flat, G flat, F. That's the little trick we just did with E flat, D flat, C. It's just that we're in a different key. [music] A flat, G flat to F.

[00:52:21]And then lo and behold, you have your professional arrangement.

[00:52:27]So, I am going to, as I always do before I start to play, rub out all my scribblings so they don't get in the way of you uh following the performance.

[00:52:42]So, we're going to put it all together.

[00:52:43]Now we've got um our 251s, we've got five ones, we've got a diminished passing chord, we have that nice little unexpected uh chord change where we don't go straight to the chord we're supposed to.

[00:53:03]And you've learned about tritone substitutions.

[00:53:08]Just before I play it, in summary, if you work through these three arrangements, you will have learned a really, really valuable set of rules, which we will continue throughout the year in our arrangement club. And by the time you've done three or four of these arrangements, this will be starting to become second nature for you. So let's finish with our little version of um London Derriè advanced arrangement.

[00:53:41][music] [music] >> [music] >> Oh, [music] [music] ooh.

[00:54:29]>> [music] >> Ooh.

[00:54:41][music] Ooh.

[00:54:48][music] Ooh.

[00:54:51]Oh, [music] [music] [music] hey.

[00:55:12][music] >> [music] [music] >> Ooh, [music] heat. Heat.

[00:55:52][music] [music] Heat.

[00:56:06][music] >> [music] [music] >> So there you go. Hopefully you can see the transformation. And hopefully you now understand how we make some of those transformations. Please enjoy it. Um, refer to the PDF and I look forward to seeing you on our arranger club very very soon. Thanks for watching.

[00:56:55][music]