Speaker 1: Hey, Adam. What's up, Pete?
Speaker 2: I smell something.
Speaker 1: Did you
Speaker 2: No. Gas or something? I didn't. No. No, sir.
Wait. I see something. I feel something.
Speaker 1: I
Speaker 2: there's something in the air.
Speaker 1: Is there a this? What? What? I think
Speaker 2: we are about to partake in a you'll hear it classic. My favorite kind. Or as they say in France, classic.
Speaker 1: Bespoke it. Gross. Hi. I'm Adam Mattis.
Speaker 2: And I'm Peter Martin.
Speaker 1: And you're listening to the You'll Hear It podcast.
Speaker 2: Classic edition.
Speaker 1: Exploring music. A very gross car just drove right down the street during that intro. We did. We really did. Yeah.
We're doing a bit of a You'll Hear It classic, Peter. So we've had a lot of people talk about this one course that we have at Open Studio called jazz chords for beginners. Ever heard
Speaker 2: of it?
Speaker 1: Ever heard of it? It's a very popular course that we made, a few years ago, and it's a course that really addresses some of the basics of jazz harmony that we probably take for granted here on the podcast and don't talk about enough. So I thought today, we could just go through of what are the basic chords that you kinda need to know Yeah. To understand everything we're talking about and understand just how to put together some harmony for a song. So that's what we're gonna do today is we're gonna look at literally from the workbook from jazz chords, from beginners from the course, which by the way
Speaker 2: No. That's not it. That's an
Speaker 1: LP. That's gets Gilberto.
Speaker 2: I still got my tiny LP. Sorry.
Speaker 1: No. There will be a PDF here in the description, so you can take that, that stuff with you.
Speaker 2: Okay. Yeah.
Speaker 1: Caleb, let's bring up the first image, please,
Speaker 2: from the workbook. Slide number
Speaker 1: numero uno. Boom. So there it is. Here are the basic chords, Peter. Yeah.
This is how we get to this.
Speaker 2: He thinks I was I I was trying to lift it. Yeah. It's probably I'll be surprised that
Speaker 1: coaster stays, by the way.
Speaker 2: Can I just make a note too that this is, aptly titled jazz chords for beginners, but I think these this concept and really this course is probably one of our most applicable to anybody that's just trying to get a handle on, like, keyboard harmony in general? Yeah. It's very of course, it works for jazz, but this kinda works is informative and and foundational for, like, a lot of kinds of music.
Speaker 1: I think so. I think so. This is just the basics of, like, 7th chords and extensions. So, if you're looking at the sheet here, you can see, whether that you've downloaded that in the description or you're watching on YouTube. We have these what do you got?
1, 2, 3, 4, 5, 6 different chords here. We've got the major 7th chord, the minor 7th chord, the dominant 7th chord, the diminished 7th chord, the minor major 7th slash major 6th chord, and the half diminished 7th chord, also known as the minor 7 flat 5.
Speaker 2: Why is the minor major 7th oh, question, sir. Teacher. Yes. Call on me.
Speaker 1: Yes. Peter.
Speaker 2: Yeah. Minor major 7th and minor 6, why are those or am I getting ahead of myself?
Speaker 1: We'll talk about that. Okay.
Speaker 2: Yeah. I'm interested.
Speaker 1: Yes. We have them in the same category. They are technically different chords, but they're kind of interchangeable depending on a couple of circumstances. So let's start with the major 7th. The basic major 7th chord is built here in the key of c.
We've got the root, we've got the 3 and the 57, as Peter is so diligently demonstrating here. That's c, e, g, and b. Play it one more time, Peter. That's the that's that major 7. Now play it as a block.
Now on the on the next measure here, we have what we call the upper extension. So there we have the root 3, 5, 7. And if we add the 9, the 11, and the 13 Gross. The d, the f, and the a. Play those all together.
Now, that is every single note of the c major scale. Did you know that? Make it stop. Make it stop. I know.
The tension between the tension between the e and the f Yeah. Is palpable. And so that's why a lot of times when you're playing an 11th on a major 7, when you're getting up to those extensions, you'll do a sharp 11. Yeah. So it'll be a little bit more palatable with that.
Speaker 2: Yeah. Because that's really, like, if I so that's with the f. If I take just the f away, that's acceptable.
Speaker 1: It's a beautiful major 13 chord. Yeah. So a lot of times when you see, like, a c major 13, you won't have an 11 in the chord. If you do, it'll almost always be a sharp 11. You almost never see a major chord with that natural 11, although it does happen.
You know
Speaker 2: what's one I love is the c 711 because I like to jump in and get a big gulp. Bam.
Speaker 1: Yeah. Only 47¢ after Carlos hit 6 home runs. Okay.
Speaker 2: So the And that won't happen this year.
Speaker 1: I know. The next chord is the minor 7th chord. And for this, we've got a d minor 7, which is the second degree of c major. We've got the root. We've got the minor third, f natural, the perfect 5th, a, and the minor 7th c.
Play those all on the block, please, Peter. That is a beautiful chord. Inner city blues. So what? You've heard it a 1000000000 times.
A gorgeous chord. Now the 3 upper extensions, the 9th and 11th and 13th, actually sound beautiful. Sounds a lot like Bill Evans, Peter, with that 13 in there. Yep. And that's just straight stacking.
Again, so from the bottom up, Peter, we've got d, f, a c e g
Speaker 2: n b. Right. And we don't have, like like, you might say, well, why isn't it clashing as much between, like, 3rd 9th? It should. But that's kind of it just sort of works.
Speaker 1: Something works really well with that one, specifically.
Speaker 2: The way
Speaker 1: it's inlaid. Next up, we've got the dominant seventh chord. For this, we're gonna use the 5th degree of c, the g seven. We've got the root g, the third, b, the perfect 5th, d, and the minor 7th, f natural.
Speaker 2: Is it minor or dominant 7th?
Speaker 1: Minor 7th. Okay. Minor 7th, technically, from the root up, that is a minor 7th. Okay. But, yes, you call it a dominant 7th because it's the dominant 7th chord.
It's got a major 3rd and a minor 7th.
Speaker 2: You love putting your ma together with a dog, don't you? Dog bum. 100%.
Speaker 1: The extensions, the natural extensions on this are all very beautiful. You've got the 9, the 11. So the 9 is a, the 11 is c, and the 13 is e. And again, just like the major chord, because of that major third, you almost never hear the natural 11 played with this. You would hear the 9 and the 13 quite a bit, which we'll get into some voicing options for those in a little bit.
Yeah. We also have here, Peter, on this sheet, the altered extensions for a dominant chord. Sorry, I
Speaker 2: jumped the gun on those.
Speaker 1: These are incredibly useful, played all the time. The flat 9, you could also do sharp 9 by the way, the flat 9, the sharp 11, and the flat 13. Gross.
Speaker 2: Well, this works, but you have to change that, like, it doesn't work with root position.
Speaker 1: Stacking them is not great.
Speaker 2: Yeah. Gross.
Speaker 1: Next up is the diminished 7th. For this, we're gonna start on c sharp. So we have c sharp, and then in minor thirds up, e, g, and b flat. That is the c sharp diminished 7th chord. Learn it.
Live it. Love it. It's a beautiful stack of minor thirds. Now, Peter Scary. The extensions on a diminished 7th are key.
Are they though? They are key. It's basically stacked on top of this, a d diminished 7th chord, d, f natural, a flat, and b. Okay.
Speaker 2: I didn't know that.
Speaker 1: Oh, sorry. That's my bad. Sorry. D sorry. I said the wrong I said the exact wrong diminished chord.
So we got our c sharp diminished on top of that. Scratch everything I just said. Okay. It's d sharp. Yep.
G, f sharp. Thank you. A and b sharp. There it is. Double diminished right there.
Speaker 2: So we're coming off and even down here it works. So this is your and for those of you that aren't watching here, don't feel like I mean, you are missing out a little, but also great chance to really develop your ears with this because we're getting into some more like, on the other ones, like, that should lead your ear up to that root when you're stacking those up. But here, like, this is the same this all minor thirds. It's all fully diminished, but we've got that I mean, I know it's built off of, like, the roots aren't the 9th, but I think that that perfect 4th in the middle is what sets this one off. Yeah.
So you got that's a hard one to hear. Then you go up with the minor thirds. Beautiful. Herbie Hancock's calling. He wants all his chords voicing.
Speaker 1: Double diminished is beautiful. And by the way, all of
Speaker 2: those Stravinsky called as well.
Speaker 1: All of those notes for the extensions, they make up the c sharp diminished chord. Those 2 diminished chords make up the c sharp sorry, the c sharp diminished scale. Whole half. A whole half. Actually, there's just one diminished scale, and it is whole half.
Speaker 2: You're dogging your mom.
Speaker 1: I'm, like, I'm dogman I'm dogma ing And
Speaker 2: you got a Doritos stuck on your shoulder.
Speaker 1: Thank you. Next up is the major made minor major 7th Yeah. And the minor 6th. So this is something that you might use for a minor tonic or maybe a minor 4 chord. Here, we've got a c minor major 7.
That's a c minor triad with a major 7. C, e flat, g, and b natural. Yep. It is a beautiful sound that you would probably use with something like either a melodic minor ascending or a harmonic minor. Totally.
You could use it as a tonic chord. Mhmm. But the most common minor tonic chord is the Cminor 6 chord. Yep. You could also do a Cminor 69.
That's Cminor triad, c, e flat, and g with an a natural, not an a flat, an a natural. Again, thinking about the melodic minor ascending as the basis for that, the extensions for that are the natural 9d, the natural 13 f, and, of course, that 13 a will be way up there. But the 13 is only applicable when there is a 7th involved.
Speaker 2: Right.
Speaker 1: So a common verse version of this is the 6 9 voicing where you have c, e flat, a, d, and g. We'll get into that a little bit later, but it is a common way to do a minor tonic. So if you're playing, like, softly as in a morning sunrise, a c minor 6 should be your go to. Or, like, alone together, the c minor 6 is the tonic.
Speaker 2: Yeah. And I think too, you know, some people might be, like, wow, that's weird. Why is that more of a tonic sound? Why is that sound more settled than with the minor 7th? Because that's leading somewhat like this.
Because you might think, oh, that's kinda but it because it it doesn't just lead up. It also leads down
Speaker 1: as you
Speaker 2: have it to the minor 6.
Speaker 1: But you should know that minors
Speaker 2: feels like you can
Speaker 1: rest there. The minor 6 is more common as the tonic than the minor major 7.
Speaker 2: Right. For sure. Yeah. For sure.
Speaker 1: Our tonic But
Speaker 2: I would say they're both I mean, I know we use They're
Speaker 1: interchangeable too.
Speaker 2: But we use the minor 7 a lot, but that's not really, like, a chronic y kind of chord in most situations.
Speaker 1: Not usually. Yeah.
Speaker 2: Because that wants to lead down to the minor to the regular 6 as well.
Speaker 1: That's right. It can be, but most most often not. Right. Our final chord is the half diminished 7th, also known as the minor 7 flat 5. This would be the 2 chord in a minor 2, 5, 1.
So here we have a D half diminished 7, D, F, A flat, the flat 5, and then C the minor 7th. A beautiful chord. Now typically, this is derived from the Locrian. So the natural minor 7 flat 5 in the key of c is the b Yeah. Minor 7 flat 5, the b half diminished.
So if we go back to our d, we've got d, f, a flat, and c. That is the d half diminished 7th. The extensions are e flat, g, and b flat. Like a e flat triad on top of that bad boy. Well, this is derived from the key of e flat.
This is the 7th degree of the key of e flat. So this is that e flat. Alright. Caleb, next slide, please. Those are our basic chords.
All of them are used in most of the tune gross. Most of the tunes that we play. Here are some very simple rooted two note voicing. These are the very basic versions, the root shell pretty voicings Yeah. That you might use.
Peter, I got this section if you don't mind. Yeah. For the major 7th, we've got this beautiful root shell pretty voicing. What do we mean by root shell pretty? We mean the root is on the bottom, and then we've got the shell, the 3rd and the 7th.
Yep. Or the 7th and the 3rd. Yep. Then we've got a couple of pretty notes. In this case, we've got the 9 d and the 5 g.
Again, c, e, b, d, and g, this beautiful g minor g major triad. Yeah. C major triad. Oh, g major triad. But, you know, it's like the 5th.
Speaker 2: I a
Speaker 1: lot of times, I don't think about as being
Speaker 2: a pretty note.
Speaker 1: It is
Speaker 2: a pretty note. It is because
Speaker 1: of
Speaker 2: the way it's spaced out there with that triad. Totally.
Speaker 1: If we're down here, not as pretty.
Speaker 2: Gross. Not quite gross, but yeah.
Speaker 1: Next up is the minor 7th, exact same formula. Root 3 7 9 5. This is a beautiful voicing. You gotta have this one. Again, root shell pretty.
You got the root and the shell, the 3rd and the 7th, and then the pretty notes, the 9 and the 5. The dominant 7 voicing, the natural dominant, the g 13. You've got the root and the shell, the 7th and the 3rd, f and b. We're a little bit more spread out now. Yep.
And you got the 13, the 9, e, and a.
Speaker 2: And what you have happening there that I think makes that voice so strong and work so well, you've got on the outside. Right? The root and the 9th or the
Speaker 1: second. Totally.
Speaker 2: And then you've got that classic McCoy Tyner Berry hair. Everybody, you know, 4th voicing with the tritone and the perfect 4th, the 7th, the 3rd, there's which is the shell, of course, the 13th. What do you call that voicing? We play it a lot. Right?
4th voicing?
Speaker 1: Yeah. But it's
Speaker 2: not too perfect for us. It's a tritone and a 4th.
Speaker 1: I it's gotta have a name. I don't know it though.
Speaker 2: That that that that chord.
Speaker 1: That chord. It's a back chord. The the altered dominant version of this g 13, you simply flat the top two notes. So e and a become e flat and a flat. So you've got g, f, b, the third, flat 13, the flat 9, also a go to voicing.
For our diminished 7th chord, we are going to use an open voicing of the diminished 7th. So c sharp, we're going to put the 3rd e up an octave. So we got a nice tenth there, a minor tenth. We've got g and b flat below that, and then we're gonna put one note, Peter, from that other diminished chord. We're gonna put an a natural.
Yeah. So there's just one note. Remember, we talked about how there's that d sharp diminished Yeah. That you can put on top as the extensions. Just adding one note of the extensions can go a long, long way.
So again, there's c sharp, g, b flat, e. All of those notes are C sharp diminished. And then one note from the extensions, A, goes a long, long way.
Speaker 2: It's all within the whole half diminished.
Speaker 1: Exactly. Now our minor 6 chord, our C minor 6 chord, we've got the root and the shell. This case, the shell is the 3rd and the 6th. And we're gonna add that 9 and that 5.
Speaker 2: And look at what you got in the
Speaker 1: middle there, big guy. That perfect 4th that Peter loves so much. That chord oh, that whole chord is there. That's right. Yep.
And finally, our half diminished 7th, very simple chord here. It's, you know, the bebop musicians call the half diminished. They wouldn't call this d minor 7 flat 5. They would literally call this f minor over d. And that's what we have here.
Yeah. D on the bottom, and then just an f minor try. Yep. A flat, c, and f.
Speaker 2: Yep. Perfect. But that comes back from that whole thing of, like, if you're 2, 5, wanting to c major or c minor,
Speaker 1: 4, 5, 1. Exactly.
Speaker 2: 4.
Speaker 1: It's like the 4 chord. Yeah. Over the d. Caleb, next slide, please. Those are our rooted 5 note voicings.
How about our rootless 4 note voicings, Peter? How about these? We got a major 7 here. There's no roots on any of these voicings. We've got the shell, the 3rd and the 7th, and then 2 pretty notes.
We're basically just taking the root out the equation. Yep. The 9 and the 5. The root has been canceled. Each one of these has an a voicing where the 3rd is on the bottom and a b voicing where the 7th is on the bottom.
Like, this c major 13, we've got the 7th b, the 3rd e, the 13 a, and the 9 d. Yep. And there's a
Speaker 2: lot of ways to think about and more importantly to hear these, but if you we're rootless, but we still have the shell is in the left hand. 1 is just with the 3rd shell being the 3rd and the 7th in this case, 3rd on the bottom or the 7th on the bottom.
Speaker 1: Can you play a c bass note for me?
Speaker 2: Yes.
Speaker 1: There's our a voice voicing. Play it against this. There's our b voicing. One's just a little bit higher range, one's a little lower range. We have the same thing for the minor 7th.
Here's the 3rd on the bottom. 3 7 95 F C E a here's with the 7th on the bottom, C F a E beautiful four note voicings here. Yeah. You can move them around. They're just gorgeous.
Here's the same thing for the dominant 7th chord, the 7th and the 3rd, the 13th, and the 9. I mean, this is just like our rooted voicing but without the root. And here's our b voicing, the 3rd, the 7th, the 9, and 13, b, f. Very dense. Yes.
With the the flatted 13 and 9. Yeah. Just gorgeous. I mean, they never missed these 4 note root list. Diminished symmetry in there to The diminished voicings, we're just using notes of the diminished chord, e, b flat, c sharp, and g, that's for our c sharp diminished, and then the b voicing, next inversion there.
Our c minor 6 voicing, we've got the 3rd on the bottom, 3, 6, 9, 5, e flat, a natural, d natural, and c. And then our b voicing has the 6 on the bottom. There's that chord again, a, e flat, g, and a. Now for our half diminished voicing, we talked about half diminished voicings a little bit last week. I might have updated this since our our remember the speak pipe we got about them?
Yeah. But I like this. It's basically like an F minor 6 chord. Yeah. F, c, d, and a flat.
Yep. I like it. Same thing here. C, f, a flat, and d. Yep.
So those are our rootless
Speaker 2: It's almost like a drop 2 from an f minor 6 when she said Yeah.
Speaker 1: Exactly. Yep. Those are our rootless 4 note. But oh, my god. Peter's the drop too.
Look at this.
Speaker 2: I was just guessing. I'll see if I could slip it by you there.
Speaker 1: I didn't
Speaker 2: know I was actually right.
Speaker 1: Those are our rootless 4 note voicings. And, again, kind of the the best part about those is that a b voicings. You got 2 choices where you get these different inversions. Right. Caleb, can we see the next slide, please?
Lastly, here's our 3rd, so we've got 3 different voicing structure, rooted 5 note, rootless 4 note, and finally rootless left hand. These are going to be perfect for when you're playing in a trio and you're going to solo with your right hand. We're just gonna do some stacking of thirds here for this, Peter. We've got e g b and d. Yep.
Speaker 2: So you're getting into one upper extension because you're shifting up off of the roots of the 3rd.
Speaker 1: That's right.
Speaker 2: At the bottom. So this
Speaker 1: is our c major 9. Right? We got the 3rd, the 5th, the 7, and the 9. Yep. Don't sleep on this voicing.
I know it's basic, but it sounds great. Yeah. And then the b voicing And I mean,
Speaker 2: these are just just a, you know, like, by not sleeping, I think what you mean is learn these in all keys.
Speaker 1: Oh, yeah.
Speaker 2: And, like and also don't sleep on in terms of, like yeah. If you're always yeah. But, of course, you you don't wanna overdo it. But what about a little of this? People use the word.
One little note in the middle.
Speaker 1: It starts with these basic shapes, but these are just the jumping on point. And by the way, in the course, Jess, for piano for beginners, we take all three of these structures through all 12 keys. Okay. So the b voicing is the same thing, but with b on the bottom, b, d, e, and g. Nice.
Same thing for the minor 7th. Right? We got the 3rd on the bottom here, 359 of d minor Yeah. F, a, c, and e. And then here's the 7th on the bottom.
And that's what it sounds like. I mean, simple but beautiful. Our dominant 7th, here's I mean, that's the classic one. Right? Yeah.
7, 9 Exactly. 4 plus 9th. Totally. 13. So that's f.
Here's a g on the bottom in the bass. Yep. Yeah. And then check this out for our inversion, this real crunchy b, e, f, and a up here. And then, of course, we have our flat 13 flat 9 versions, which is also, by the way, Peter, if you look at that, that is an a flat minor 6 shape.
That's a for our Barry Harris fans out there, tritones minor. You could take any of
Speaker 2: those inversions of that over
Speaker 1: the g. That's right. That's right. And the 7 we're just gonna do no. They're not that.
We're just gonna do we're just gonna do a stack of minor thirds, e, g, b flat, c sharp, and then different inversion, b flat, c sharp, b. The minor 6, another that chord with that Plus the 5th. Plus the 5th.
Speaker 2: 5th. Case, which is weird because you the 5th usually, pulls away from That's right. But this one works.
Speaker 1: E flat, g a, and d. Isn't that beautiful? And then a for the b voicing, a, d, e flat, and g. Again, with a c on the bottom.
Speaker 2: But you know what that c minor is? Yeah.
Speaker 1: Crunchy.
Speaker 2: It's really the same shape as the dominant 7th a.
Speaker 1: Yep. You know? Exactly. Exactly the same. For our half diminished 7th voicing, our d minor 7 flat 5, we've got simple f minor 6 shapes Yep.
F, a flat, c, and d. Again, don't sleep on these. I use these all the time.
Speaker 2: For for melodic shapes. Well or and Close to my mic? Okay.
Speaker 1: Well, for comping shapes. I mean, this basic voicing, even though this is just a stack of what the the chord is, it is what it's the go to. Yeah. It's the go to, and then the b voicing has the 7th on the bottom.
Speaker 2: Can you get away not only get away with, but utilize these basic what appeared to be root position if this was an f minor 6 to just be root position. It'd be like but because we're placing it as a as a rootless voicing over some on top of something else, because the same thing could be used over, like, a g.
Speaker 1: Yeah. For sure.
Speaker 2: That's the chord from that. What? Michael McDonald. Michael McDonald.
Speaker 1: Can you turn, Kale, to your 5th phone?
Speaker 2: The street. Thank you.
Speaker 1: And that's let's take a Let's hit the next slide, please. That is that. That is that.
Speaker 2: The next slide. How many slides we got?
Speaker 1: Okay. This is it. This is our final slide. So these are some 2 five ones using everything we've just learned. We've got our 5 note rooted voicings.
We've got our 4 note rootless voicings, and we've got our rootless left hand voicings. We have major 2 fives and minor 2 fives. Again Hells yeah. You can download the PDF in the description of the YouTube video here.
Speaker 2: So And you know what? Actually, you can you know what? You can we're we're gonna do a special where you can get this whole course lifetime. We don't do that very often around. We're doing it.
I'm authorizing it.
Speaker 1: Okay. So we're we're gonna get we're gonna offer the whole course of jazz piano jazz ones for beginners?
Speaker 2: Jazz course for beginners. Because a lot of folks are like, I don't know if if my membership you know, if I lose my job and I lose my membership, I still wanna have something. So we're gonna go lifetime access on just this course, because I think that that'll really
Speaker 1: be valuable for the music. Yeah. Well, let's hear how these voicings work in action. So here is our 5 note rooted major 2 five one. Peter, you got it.
Okay. D minor 9, g 13. See, I mean, what else do you need? Yeah. That sounds great.
Speaker 2: And you can see this visually. And if you're on the pod, that's okay. Just go check out the YouTube or download the PDF or or get lifetime access to the course. Part of the thing is, like, why does this work? Like, we're spreading out.
Out, right? But we're staying the same on top. Little things like that are fun when you feel them in your hands.
Speaker 1: Right? It's beautiful. Yeah. What about the 5 note rooted minor?
Speaker 2: Oh, that was gross. But the first one was good.
Speaker 1: D minor 7, 5, 5, D minor half diminished. G7 flat 9, flat 13. C minor 6. You don't need any more than that. No.
That is just that's incredible voice leading.
Speaker 2: And that's got that chord in the middle with the 5th and the root on the bottom.
Speaker 1: Alright. How about the 4 note rootless major 2 5? I'll do the roots.
Speaker 2: Okay. 1. 234.
Speaker 1: Let's do the b voicings. Wow. How about the minor rootless before note? Let's do it. Rootless.
And that with the b voice sings for the minor? Are you gonna sing through the whole thing? Oh. How about the rootless left hand major voicings?
Speaker 2: This is probably the most important rootless left handed voicing you could learn. It's not necessarily the hip as well.
Speaker 1: Do it again. Do it again.
Speaker 2: 3 579, that chord with the 9th, and then 3 579. Totally.
Speaker 1: How about the b voicings? Yeah.
Speaker 2: Those are hipper, but the other ones, the a, are more foundational, you know? More fundamental to what you need to learn. Don't you think?
Speaker 1: I think so. I think you're right on that. How about the the left hand minor voicings, minor 251? And the b voicings, the b voicings? And that's jazz chords for beginners.
Speaker 2: That was fun.
Speaker 1: Yeah, check the description for the PDF and also the offer for lifetime access to jazz chords for beginners course. Like I said, it is one of our more popular courses. It always in our in our course rankings is in the top 3.
Speaker 2: Yeah.
Speaker 1: It's a good one. And it's been around for a minute.
Speaker 2: It's a good one. And you need these for life. So there
Speaker 1: you go. Yeah. Till next time.
Speaker 2: You'll hear it. Hey. Hey. Those are the same voicings.
Speaker 1: You'll hear it clasico.
Speaker 2: Classique. Classique.