2023-07-24 07:33:01

Después uniremos las marcas con líneas rectas formando una cuadrícula como esta .

Seguidamente cortaremos con el Potter .

Nos tienen que quedar sesenta y cuatro piezas cuadradas del mismo tamaño .

Así nos tienen que quedar las piezas .

Una vez recortadas en el siguiente paso volvemos a coger la pieza de cartón que utilizaremos como marco del tablero y lo cambiaremos a un color más claro forrando con el papel marrón .

Para esto cortaremos unas tiras y las pegaremos con el pegamento de barra .

Nos tiene que quedar así .

The tune is written in the key of E Flat Major , and it follows an A AB a form .

The tonality is primarily major throughout , and there is some altered harmony sprinkled in here and there .

So the version that I'm working from can be found on Page 434 of the new real Book one .

Here's the front cover of the new real book one .

If you head over to the resources section of Piano Groove , you can find a link to where you can buy that book online .

So this is one of my favourite jazz standards , so hopefully I'll have some interesting things to share with you .

So before we get stuck into the chords , let's run through the melody in our right hand and just the roots of the chords in our left hand .

Después la pegaremos con la otra plancha de cartón de cincuenta por cincuenta .

De esta manera tiene que quedar bien centrado .

Ahora forramos con papel treinta y dos de las piezas cuadradas que cortamos antes .

Aplicaremos pegamento y lo pegaremos con cuidado de que no queden arrugas .

Tiene que quedara así .

Una vez forradas tenemos que tener treinta y dos cuadrados claros y treinta y dos oscuros .

Es la hora de pegarlos al tablero .

Empezaremos con las casillas de color .

Claro .

La pondremos en la parte superior izquierda .

Después repetiremos la operación con una casilla oscura y la pegaremos a continuación , hacia la derecha .

Seguiremos pegando Casillas siempre alternando entre colores de esta manera hasta completar el tablero .

Una vez seco , ya lo tendremos listo .

Lo siguiente es hacer las piezas para nuestro ajedrez .

Para esto puedes copiar este diseño en un papel o crear el tuyo .

Lo único importante a tener en cuenta es que el rectángulo exterior no sea superior a cuatro por siete centímetros .

Usaremos la siguiente técnica para pasarlo al cartón punteamos en todos los vértices del diseño y en los contornos redondeados .

Con esto conseguiremos marcar en el cartón todos los puntos que nos indicarán por dónde trazar las líneas .

Esto lo haremos ayudándonos con una regla para que las líneas salgan bien rectas .

Lo haremos de esta manera .

Ahora dibujaremos dos círculos de cuatro centímetros de diámetro cada uno .

Estos círculos no se verán como base para las piezas cuando las hayamos recortado .

The third , the N , the seven and the nine is the melody to AD flat 13 .

So we've got the root , the flat seven , the three and the 13 .

So notice the movement .

Between them , we have a flat minor nine .

Then the seven of a flat drops by half a step to become the third of D flat 13 .

So E flat major .

Seven .

The roots , The three , the five and the seven to C minus seven .

Route seven and three to F minus seven .

So we've got the roots .

The three , the seven and the three .

So that's a B Flat seven .

We've got the root , the flat seven , the three so G7 .

Si es así , déjalo en los comentarios poniendo r dos puntos y la respuesta que creas que es la correcta .

A continuación desvelamos la pregunta oculta del programa anterior , que se encuentra escondida en el minuto once .

Dieciseis es cuántas tiras se cortan en total de ovillo .

Y el primer comentario en dar con la respuesta correcta fue el de Cristo Blackford y gracias por participar y ahora os dejamos con algunos de los comentarios que nos parecieron más originales .

El

This is pretty much just , um , a complete repeat of the first one .

Let's run through it again .

E Flat Major seven B flat minor .

Nine to E flat 13 to a flat major seven a flat minor .

Nine .

It's AD flat 13 E flat , major seven to C minus seven .

F minus seven .

And then we have an E flat six cord .

So you play that like this ?

We have the the roots , the third , the six and the root is the melody .

So E flat six would be similar to E Flat seven .

It's still dominant , but we've replaced the seven with the six and then we have a B flat nine sauce .

So the easiest way to play chords is to play the root of the chords and then play a major triad a whole step below the root .

So that gives us the route the flat seven , the nine hence the B flat nine S and then the fourth , which is in the place of the third .

So that's a a functioning , dominant chord .

And then we're back to E flat six , and then we move upwards and we're into the bridge .

And now let's take a look at the bridge of the tune .

At the end of the second a section .

We have an E flat six cord , and that takes us into the bridge .

So what's going on in that line ?

So basically , we have a B flat minus seven , and then a B flat minor major seven and then a B flat minus seven .

So that might look quite complicated , but in fact it's quite simple .

What's going on once you understand ?

Um , so a minor major chord is basically a cross between a minor and a major chord , as as the name suggests .

So here's a B flat minor seven chord to play a B flat minor major .

Seven .

We just raise the minor seventh to the major seventh .

So we have the roots , the minor third , the fifth and the major seven of them .

So it's quite a fruity sounding chord , and then the , um and then it drops back down to B flat , minus seven .

So let's see how that sounds .

Just with roots 3rd and 7th again going from the E flat six we have .

So that's basically the root , the minor seven and the minor .

Third is the melody , so we just lift up the minus seven and raise it by half a step , and then it drops back to B flat minus seven .

So now we have an E flat seven with a flat nine so we can play .

So that's basically the root .

The third and the seventh in our left hand , and the flat nine is the melody .

So the flat nine is a very interesting sounding notes .

It's altered , so it's the ninth that's been lowered by half a step .

And so I think it's nice to draw some attention to it with , um , a grace note sort of dropping into it .

So so then it goes to a flat major seven So that's a 251 in a flat major , we've got B flat minus seven , E , flat seven and a flat .

Major seven .

Let's run through that again .

So now we have an A flat six cod .

We can play that like this .

So we've got the roots , the sixth and the third .

So that's an AM or 11 .

We've got the root .

The third , the seventh on the 11th is the melody to AD seven to F seven .

And then we have B flat seven .

Then E diminished .

So we've got the root diminished .

Third diminished seventh .

So we've got a B flat seven .

He diminished seven F minus seven .

So root 37 .

That's actually an F minor 11 because the 11 is in the melody and then we have a B flat seven , and then we're onto the third a section So just let me run through the whole of the bridge for you without talking .

So going from the E flat six cord .

So that takes us to the third a section This is the the last a section It basically brings the tune to an end .

So now that we've been through the form adding the 3rd and 7th of the chords .

We can now look at adding more extensions , so in particular we're going to look for opportunities to add nine Elevens and thirteens .

We're also going to look at ways that we can embellish the melody to make it sound a bit more interesting .

So something I like to do here is to harmonise the pickup of the tune .

So the pickup is this bit , and that basically drops you off at E Flat major seven .

So when we harmonise something , it means that we take those two notes and we build chords underneath them .

So as we're going down to E Flat major , we could turn that into a major 251 .

So here's a That's an F minor 11 .

It's called the Kenny Barron voicing so you can go and check out the lesson on that for more info .

But you can see we've got the B flat on top .

So we've not changed the melody .

We've just harmonised underneath it .

So here we have the route The fifth , the ninth , the flat , third , the flat , seventh and the 11th of F minus .

So we could harmonise the G by playing a B flat 13 chord .

So we've got the root , the fifth , the flat seven , the third and the 13 .

And then we can play an E flat major 13 chord .

So we've got the route The fifth , the ninth , the third , the 13th and the major Seventh is the melody .

So we could actually change the melody there slightly as we go up to the top .

So we have I mean , you can play a B flat minor nine there .

So we've got the roots in the seventh and the nine on the minor third .

So you can see we do play the C in the previous bar .

So , you know , just putting it into that cord is fine , so you can see .

Then I took the melody up , which is OK .

You could also bring it down .

So it's just a way of adding a bit of interest instead of playing No .

Four straight notes .

So FM or 11 B flat 13 and E flat major seven B flat , minor , nine .

So we've got the fifth in there as well to E flat 13 .

So here I just played the the roots and then came up to play the major seventh and the ninth .

So that's an a flat minor nine voicing .

We've got the root , the fifth , the seventh , the third , the fifth , the seventh again and the ninth .

So that's AD flat 13 with the nine in there as well .

So the the fifth of a flat minor nine actually becomes the ninth of D flat 13 .

So you don't need to change the notes .

So where were we ?

Uh , so there we've just got , um What is that ?

That's an E flat major .

Seven .

We've got the root and the fifth , the third , the fifth , the seventh and the third again .

Just a bit of a thicker cord .

We could harmonise these next two notes as well .

So ?

So all we've done there is .

We , um we basically moved up .

Diatonic .

So we we have E flat , major seven .

And then the melody moves up to a flat so we can play , Uh , an F minor F minor seven chord .

So we got the roots , the 357 and the three .

And then the melody moves up to G so we can play a G minus seven chord .

So we got the route .

The third , the minor third , the fifth , minor , seventh and the third again .

So that that passage is and that goes to AC minor nine .

So we've got the route 3rd , 5th , 7th and the ninth and the third in there .

So it creates a bit of dissonance and tension , and then we go up to an F minus nine there .

So we've added the nine in .

So here you can play the C and the D together , and we can actually move the the sort of , um , outside of the of of this little cluster here , so to get to G7 , which is quite a nice touch .

So let's just run through all that again .

So there we've got a G7 and we can keep this bit simple .

So C seven F seven B flat seven .

So here I just sort of , uh , hit the root in the fifth and then played the third , the fifth and the 13th .

So again , just adding a few notes in So that's an a flat minor 11 corner .

So last time we played , we doubled the fist .

Well , if we drop the fifth in our right hand down a whole step that turns to an a minor 11 .

Sorry , an A flat minor 11 .

Not an a minor .

So a flat minor 11 .

That 11 really sort of add some colour to it so you can hear the difference to D Flat 13 .

So now let's have a look at the B section .

Um I mean , first of all , we've got the the E flat six .

We could change this that B flat nine sus into a B flat 13 .

So , B flat 13 .

So is basically you , add You play a major seventh a whole step below the root .

So last time we just played the the Major Triad .

If you play a major seventh , that also gives us the 13th of B flat .

It's a bit of a richer sound and then we go back down to E flat six .

So what did I do there ?

Basically , I played the E flat six and then I hit the root of the chord .

I played a left hand , rootless , voicing and then just raised the the , uh , major seventh .

Sorry , the minor seventh up to the major seventh .

And then I played a rootless voicing with the flat nine in there .

So we've got the 3rd , 7th and the flat nine .

We can continue to play sort of the roots and then , uh , the rootless voicing .

So that's a rootless voicing for a flat major seven .

We've got the major seventh , the ninth , the third and the fifth .

So here we can play the Kenny Barron voicing again .

So remember the Kenny Barron voicing it has the 11th on top .

So that'll work .

Well , whenever you , uh , have a chord with the 11th and the melody .

So here we've got the route Fifth and Flat Seventh and we've got the ninth and the third , the 13th .

And the roo hunts up down to E diminished seven .

So we got the root , the diminished third diminished Fifth diminished seventh and the route again .

And then we can play F .

Kenny Barron could even at the at the nine in the to be flat 13 and then back to E flat major .

So that's just an F minor voicing .

And that's the end of the So If you have any questions with that stuff , guys , just feel free to drop it in the comment box below

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