So a little bit about on alternating voicing uh all of this is all about relationships and so the way where you place your fingers ah doesn't really matter per active that's why if you uh if you look when you look back on the slides the with the d pad theory I had like this is your one this issue too but this is also five but this five is actually an active below but it doesn't matter it's still fifth note in the sequence of seven so it doesn't matter where you put your fingers all together so let's say I want to play a triad of the route I could do this or I could do remember to get up when active I could actually do and if I want to let's say add um the route knocked it down could do that or take out root and that active I can also play seventh like this or I can play the seventh like wait so you're just playing the same notes or just shifting the active so just know that you could do that as well you don't have to like oh I have to play a diamond like well you have to play a diamond...
you khun this easy way also you could just slide your fingers as well along eh so you're flying the same notes just different key uh so the sliding is really cool because not only can you play it like that kind of like some piano players will slide up and down the keys but you can use this if you were able to live you so you know that you can do all sorts of crazy things with live so you can like turn the glide way up and then like you know do all sorts of weird stuff and you can use have even used like mallets on here and things like that so yeah don't forget that is a possibility and you can use this to kind of figure out where you want to go and you can listen to the relationship so I heard that sounds good and then I get kind of remember that path and maybe play that path in the melody so as you're tracking down you hear the relationships one after another so that you can hear what sounds could what doesn't uh oh yeah and on the slide it says say ninth eleventh thirteenth uh are just seconds forts and six and higher actives so once I realized that I was like wait what? Because one time I saw quincy jones speak and someone said how do you write all these great songs and how do you do all these melodies? He said it's just the same twelve notes it's just up and down the keyboard and so if you're thinking like ok what's the ninth I understand what a ninth isthe well it's just the second of of the next octave so if I'm playing this the ninth of it is here which of of this octu move is right so it's just that relationship carries over and over as you climb higher or lower so it just remember that as you were kind of thinking through your you're kind of push theory and everything here any questions a couple questions of balakot tempo stuff so not necessarily cords um is there a way to utilize pushes note repeat with lives groove pool as the quantities reference yeah so group pool and the swing or separate because so they don't work together got him yeah pushed us and use the group fool but is there a way to utilize the repeat so that it's not sink tw toe lives tempo um ninety nine percent sure know okay no okay, yeah, I was thinking maybe a max were alive but I don't think so okay. Yeah, well, it maximum technically yes, you can but yeah, not out of the box. Cool. Cool. All right, it was technical questions. All right? So talked about alternate voicing and let's talk about foot pedals so I have one football here is is the simple uh pedal and I was telling you earlier you can plug it in for a sustained this first woman is this a stain here? And if I hold it down so you have that ability to to use the a sustained pedal and get more of ah piano feel if that's kind of the world you come from actually just hold it down I didn't have a sustained battle for years so I usually just hold my notes and uh do it that way the second one is um for launching your clip like I was saying so despondent and so you could see that here you can launch it and stop it I have fixed grid on so it already jumped to a size already but uh then I can overdub on it as well overdose and then record they didn't turn the overdub off so that's how that works I don't use this a ton but I'm sure there are people that I would like that functionality I usually just use um the record button okay, so next up we're going to talk about suspended cords inversions we talked about triads sevenths nineths um and so now we'll talk about you know, suspended course versions and to do it suspended court it's really just the route the fourth and the fifth so you're just going up one and then over so if you need to do that and I think I don't do suspended course that there's another one I think that's the two so you have I don't really have a nice like analogy for this or like this shape I don't know it's like a yeah I don't have a good one sorry they all can't be funny all right um so then, uh inversion is really you take your triumph and you then just move up the lower note so on that I just take the third to be the lowest note fit on or you could play it like this or you could play it like thiss so any time you see those green it shows you different ways you could play it this with the same voicing like it's going to sound the same it's just located differently so you can kind of get to it depending on the way you want toe kind of approach it ah, and then if I want to do so that's the first inversion if I want to do a second, we're just then moving this guy up so we're doing so just sounds different it's the same court it's just done differently and if you start getting and like um study music or looking at music history or music appreciation, you'll see how certain people will play the same chords for let's say at a turnaround or some point in song but using version so it just sounds a little bit different you look oh wow, that was cool and then you once you start learning like that you're like, oh, it was just the same note just rearranged but like I said, it's all about the voicing. If you focus on the voicing of things on push, or I really inish any instrument, you'll kind of get further than, or being really worried about the notes per se.