• VIDEO LESSON: The MISSING PIECE OF THE PUZZLE to playing almost any song out there (FREE link to yet another 12pg report included)…

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    Hi, I'm Jermaine Griggs, founder of this site. We teach people how to express themselves through the language of music. Just as you talk and listen freely, music can be enjoyed and played in the same way... if you know the rules of the "language!" I started this site at 17 years old in August 2000 and more than a decade later, we've helped literally millions of musicians along the way. Enjoy!

    Attention: To learn more about this, I recommend our 500+ page course: The "Official Guide To Piano Playing." Click here for more information.


    1 Fikir

    Well Jermaine, I was hooked to this video wishing it wouldn’t finish. I don’t have any knowledge of Piano I only know the names of the keys, however, It was very interesting. I am glad you gave this free video because I found it very hard to believe that a person can learn to play video just by listening. But now I am fully convinced that it is possible not only to learn to play the piano but also to be good at it just by listening.

    Thank you so much…

    2 Tony Berrian

    Thanks Jermaine! The circle chart works well in identifying the numbers in the “C” scale. However, in your 2-5-1 chord progression example, is “D minor” supposed to be “D major?” I also printed the note cards from the other two lessons and tried to put the same chords and tones together. Is that a good idea to do? By the way, your teaching makes things easy that even a caveman can do. Take care!

    Tony Berrian

    3 Jermaine

    Hey Tony,

    The circle works for EVERY KEY!

    Every key is on the circle. It’s not just one key, it’s universal.

    For example, if you want to know all the tones of G and what is connected to each other, just move my example over…

    In other words, in the key of G, the circle of fifths would be incorporated as follows:

    F# – B – E – A – D – [G] – C

    *G is the key we’re in but it also has strong pull to C, thus C is at the end.

    Just like we did for C major:

    B – E – A – D – G – C – F

    (Do you see overlap at some point between these keys?) The circle of fifths brings that to the forefront and makes it absolutely CLEAR.

    I hope this helps.

    4 Jermaine

    Don’t look at circle for major and minor… look at it the same way I explained it. You’re just looking at it to know what tones lead to what tones… the first part of my exercise tells you what tones are supposed to be major or minor or diminished Tony.


    5 Janice

    I think we did something like this in the training center in a theory class. I’m still not sure I’ve got it yet, Jermaine. Let me try the A major scale. Would it be F# B E A D G# C#. Or am I still confused?

    6 annie

    very interesting i know the c major scale c major,d minor,e minor,f major,g major a minor b diminished chord and can even hear where to play the minor chords in c major. does this apply to all scales? but still need to follow the video and learn the circle of fifths. I have the secrets to playing piano by hear that i purchase but the videos seem to be more helpful to me.
    Thanks! for your dedication and your desire too help others learn.

    7 Jermaine

    Janice, whatever key you’re in, just go to the 7th tone of that scale (see video #2 which talked about the importance of knowing numbers). But if you just understand what pulls to what and start on the 7th tone of your scale, that will give you every note of the scale (but sorted by fourths… the REAL direction music moves in).

    In A, it would be:

    G# – C# – F# – B – E – A – D

    A is the key you’re in but “D” is where it commonly moves to (and the “4th” tone of the scale).

    8 Prazim


    You’ve done it again. Another outstanding teaching session. The light bulb is on and I am getting it. I see the relationship. It’s awesome. I really thought it was going to take years to learn all this stuff. You just have that knack for explaining things.

    Thank You Thank You Thank You!!!!
    May God continue to richly bless you.

    9 Frank Jones

    Jermaine, thanks again. you are ministering to music – ministers – you better believe it. God is going to bless you far beyond your imagination, I can describe your course in a word – Brilliant.


    10 Woody


    It seems to me that C tends to push up a fourth of pull down a fifth to F. or in other words,

    A major triad tends to push up a fourth or pull down a fifth to the fourth tone of its scale. When it pulls down, and a seventh is added, the fourth morphs into the root of a new chord.

    Thank you for all you do

    Woody – Sacramento

    11 Jermaine

    Hey woody,

    To be honest, I’m so used to saying “PULL” that I didn’t even really pay attention to the nuances between “PULL” and “PUSH”… hehe.

    Here’s the bottom line:

    Moving in a clockwise direction: G has a strong tendency to go to C… and C has a strong tendency to go to F… and so on… whether pull or push is the right word, as long as that direction is being followed, you have unlocked the movement of music. :-)

    thanks for taking the time to write for clarification.

    All the best,

    12 Dick Blocher


    Wow…..I can’t believe my own eyes.My wife jan said I have a big head to. You are a very brilliant young man, and I am very great full for your talk on Pattersn, and the Circle of 4ths. It all came together for me today, I know my numbers. and I can find the key to a song.I just need to start practicing this method, that you have so graciously shared with me.The Circle of 4ths, really open my eyes. I used to work in Explosive Ordnance with the US Navy, and dream about the possiblity of learning Piano. Today I believe, with your help and patience, I will be able to learn your system soon. I need to save up some cash,but I will be talking to you soon. God Bless, and keep. A friend in Pennsylvania.

    13 Janice

    Thanks Jermaine, I think it’s becoming clearer. Question: Does that mean for any scale on the circle I must begin with the 7 and then think of the pattern as 7-3-6-2-5-1-4? …and in doing that the flats on the chart can be changed to naturals or sharps if appropriate to the key or naturals can be sharped etc. as long as the flow is in the counterclockwise direction? I’m thinking that I’ve been mistakenly trying to isolate the flat side of the chart for scales with flats only. Maybe I’m being too rigid with that??? Sorry I’m being so dense about this. My questions may seem foolish but I’m sincerely trying to untangle my thinking.

    14 Jermaine

    Yes, you’re totally right. Change up the notes so they make sense for the scale you’re in… as long as you’re flowing with the circle… every major key is on that circle (and yes, in the pattern of 7-3-6-2-5-1-4).

    15 Melvin Broussard

    Dear Jermaine: I have started watching your videos, I find them to be most informative. I am ashamed to admit that I have been trying to play the piano for many years. Sadly I must say that it has never come together for me. I have studied under many teachers, using the traditional method, which has not worked for me. I sight read very little, and pick up most of my playing from the ear.
    This is a source of frustration, because I do things on the keyboard with no rhyme or reason. Jermaine, quite frankly, I have never incorporated the pattern or flow of music. Currently, I am reluctant to telling folks, that I have been playing around the piano for 35 plus years. I want to play for the church, but I haven’t got a clue, as you know a lot of black gospel is built widely on the pentatonic scale. I am impressed with your teaching style, you are truly blessed and gifted. I need your help, it appears that I will have to start from scratch and build on your simplified true and tested methodology. RSVP, and God bless you!

    16 Lawrence Calip Jr.

    Thanks Jermaine: I’ve been at a standstill in my playing because it took so long to pick out what I heard,I have a great ear and I have loved the piano ever since I was young but became frustrated with the standard teaching methods, but when I first heard about the circle and the number system I couldn’t find a teacher that taught it,you’re an answered prayer, now I have hope again knowing I can go on with my dream to minister for God through music.

    17 James

    Thx alot God will Bless you a 100 fold,and thx again.Not that you are looking for it but God will take care of his own. Be bless my brother.

    18 DeCarlos Love

    Thanks a lot! the information makes tons of sense. I like to sit at my keyboard while watching the videos and you can really tell the practicalness of the lessons you teach. I was wondering if you plan on covering any drills to help me play the progressions in different rhythms. After learning what notes sound good played after each other this other piece would really take me to where I want to be. Thanks again

    19 djnick

    I thank god for you those three lessosns help me more than i can tell. I finally under stand muisic. THANK YOU AND GOD BLESS!!!

    20 kendall hurts


    21 connie

    jermaine I’ve been taking lessons for 15 years no-one has ever taught me this before regarding the pattern. hal at joan croc ctr in sandiego touched on this but i had little understanding until now thanks for more insight on the circle of fifths i enjoy your tutoring. for more understanding of how music works it was a puzzle to me for sure before now. I still have a long way to go.but thats ok.I read music from sheet. no ear/on the radio be sure to say the consonate more clearer and repeat the chords sometimes the sylables are lacking.so i dont learn or play the right chord so i give up . thanks

    22 BGary

    Hi Jermaine. Enjoyed all the new videos. Great explanations and lessons as well. Only problem I encountered was being able to open the links to the 3 reports (28 page, 14 page, 12 page). I have tried msn, google and yahoo. Still, nothing. I did not use capital letters, either. Please help.
    Thanks for your time and attention.

    23 Jermaine

    Hi Bgary,

    Thanks for your comments.

    As a rule of thumb, whenever someone gives you a link, don’t search for it using the search bar (google, aol, yahoo)… especially if the link is BRAND NEW. It takes time for search engines to index a new page and even longer for a pdf document. You may get lucky doing this but whenever someone gives a link, always type it directly into the navigation bar. This is the bar that changes every time you go to a new website. It’s a “DIRECT CONNECT” to the website. It’s the difference between calling someone directly on the phone with their number versus first calling 411 directory assistance. The directory may or may not have them but if you call them directly, you’ll always get them.

    Please try the links this way and you’ll get them :-).

    Thanks a lot,

    24 Bgary

    Thank you, Jermaine, for your time and patience. This worked and I learned something new. Once again, thank you and may God continue to bless you. Your response was very timely as with all services I have received from Hear and Play.
    I am a member of the Training Center and look forward to my “Gold Status”.

    25 BigT - UK, London

    Hey Jermaine!

    I’ve been playing for 23 years and got stuck like almost everyone you’ve come across! Teachers weren’t teaching what I needed to know… How to play with freedom!

    I amost gave up, but my motto for 2009 is “Study to show thyself approved”. Guess what? I found your site, watched these three latest videos and in the space of a few days, know the numbering system, chords, the circle of 5ths, progressions! I can even name chords!

    Now I want to let you know something! This elevated my playing at church on Sunday! I’m almost kicking myself, because this stuff was what I should have know 23 years ago!

    It actually takes me minutes to transpose a song using the numbering system instead of a few hours (or simply just giving up!). Playing in the ‘ugly’ keys is not even a problem… I am amazed! It’s so simple!

    Thanks for teaching us how to fish! Your making ‘Fishers of men!”

    Bless Ya!


    26 Dave Orme

    Really helpful lesson. I’m having trouble applying it to a really simple worship chorus:

    [D]Lord you [A]are more [G]precious than [D]silver
    [D]Lord [A]you are more [Bm]costly than [A]gold
    [D]Lord you [A]are more [G]beautiful than [D]diamonds
    There’s [G]nothing I [A]desire compared with [D]you

    Key: D

    But the only place where I see this song going counterclockwise around the circle is on the last line.

    Also, a common way to end this is:

    There’s [G]nothing I [A]desire compared with [G]you [D]

    What am I missing?



    27 Dave Orme


    There’s [G]nothing I [A]desire compared with [G]you [D]

    If I think like a bass player, I think I see what’s going on with this ending. On Bass, one would (often) turn that G-D progression into a run of:

    G F# E D

    to get back home.

    But my gut is saying that I’m probably still missing something about how this connects to the circle of fifths/fourths that you presented and I’m really curious about what it is.

    But this is a really interesting way of looking at music that I hadn’t considered before. (I normally think in terms of 3 major chords plus 3 relative minor chords in a key, and then alter chords from there.)

    I just played “Amazing Grace” the way I normally do and noted the following chord sequence (using the number system):

    1 1(7) 4 1 (walk down to) 6 5
    1 1(7) 4 1 (walk down to) 6 1 5 4 (walk down to) 1

    (where “walk down to” indicates that the bass line is walking down the scale).

    But this last line also works as:

    1 1(7) 4 1 (walk down to) 6 2 5 1

    So I guess that 6 1 5 4 1 is just a common alteration of the 6 2 5 1 progression?

    If so, then how/why does it work?

    We could also get really tricky and discuss the chorus of the gospel song: “Pow’r in the Blood”. In F, the chorus’s chord sequence is:

    There is [F]power, [A]power, [Bb]wonder working [F]power
    In the ….

    That’s another strange one: it effectively substitutes an A major chord for the C7 major chord (the 5/7 chord in F). I note that A minor is the relative minor for C, so I’d guess that this has something to do with it?

    (Up until now I’ve thought in terms of 3 major chords and 3 relative minor chords in a key. I hope that I can really understand what’s going on here and add a new tool to my box.)

    Thanks again for the very interesting lesson.



    28 Jermaine

    Hi Dave,

    Thanks for your thorough comments.

    I should start by saying the circle will work 70-80% of the time, as I mentioned in the video.

    And what I find is that the more basic you are in your playing, the more you WON”T see the circle. You see, if you’re playing 1-4-5, of course that’s not moving in the counter clockwise direction but it can still be looked at using the circle (the 1 is in the middle, the 4 is on one side of that and the 5 is on the other). So the relationship is still very clear. But you don’t get into the circular movements until you turn that 1-4-5 progression into:

    1-6-2-5-1-4 (cuz instead of going straight to the 4, most songs will do a “6-2-5-1” turnaround to get to the 4).

    Then it might connect to the 6 again, then 2, then 5 (there’s the 5 from our 1-4-5 progression), then back home: 6-2-5-1.

    But of course, this same thing could simply be played as: 1-4-5.

    When you expand your options and play more chords, the circle comes to life… even with simple 1-4-5 patterns. Because it all amounts to this:


    And if you can answer that, then there’s always a chord you can improvise with or add in there to create more spice. Then there’s a chord that leads to even THAT chord.

    That’s where the circle gets interesting.

    Also, remember songs just can’t follow the circle forever. They have to reset and stop prematurely and start over again because you can’t just go C F Bb Eb Ab Db Gb B E A D G (soon you won’t even be in the same key of your song). So at some point, you do have to go from tones of the scale to others that aren’t next to each other but the idea is that MOST chord progressions in the song will be moving circularly.

    When you get this, your songs will be more spicier… you’ll see all the options you have.. and you’ll understand why song writers and composers are doing what they’re doing.


    (on the go… didn’t have time to read this over so excuse any mistakes).

    29 Dave Orme

    Hi Jermaine,

    I think I get it. Thanks for the great explanation.

    So here’s what I’m hearing.

    In “Lord You Are”, I know what chords the words have to fall on. (What I posted above).

    But if I want to take a pretty little detour on the way to those chords by adding some passing chords, the circle of 4ths is my roadmap to know what those chords should typically be.

    So, for example, I could alter “Lord, You Are” to something like (Switching to C for clarity for anyone following along):

    [C]Lo[Am]rd you [Dm]are [G] [C]more [F]precious [G] than [C]silver [G G/B]
    [C]Lord [Am] you [Dm]are [G] more [Am]costly [C] than [G]gold [G/B]
    [C]Lord [Am] you [Dm]are [G] [C]more [F]beauti[Dm]ful [G]than [C]diamonds
    There’s [Dm]nothing I [G]desire com[Dm]pared [G]with [C]you

    Then you really see the circle in action.

    Except for one place on the 2nd line where I went from Am and walked the bass line up to its relative major: C.

    I assume it’s fine (theoretically) to jump around the circle like this if you’re jumping from a relative minor to a relative major or vice versa? (Sorry if I’m spoiling your next lesson. ;-)

    Thanks so much for the video and for the response. A lot of things just fell into place for me!

    Best regards,

    Dave Orme

    30 Jermaine


    Yessir! You’re on the right track. This is exactly how I explain passing chords and “improvising” with other chords.

    You could even add something before the last G chord (like a Dminor or Dmajor or D7 chord).

    Then there’s a concept called “tritone substitutions” where you figure out what is a tritone up or down from the key you’re currently on. Since tritones are symmetric, the answer will be the same whether you go 3 whole steps up or 3 whole steps down. The answer you arrive at is what you can substitute for the current chord.

    So in your example, you went from C major to A minor to D minor to G major back to C major.

    Well, to make it even better you could take any of these middle chords (i.e. “A minor,”D minor,” “G major”) and substitute chords a tritone away. When you do this, dominant chords for the substitutions work best (but minor chords can work too).

    So that means, you have these options now:

    Eb7 or Eb major or Eb minor as a substitute for A minor

    Ab7 or Ab major or Ab minor as a substitute for D minor

    Db7 or Db major or Db minor as a substitute for G major

    Now that you know the theory.

    SHORTCUT = The chord a half step HIGHER than the chord you want to go to NEXT can be substituted for the chord you’re currently on (if you’re moving to G, instead of using D all the time to get there, you can use Ab, which is just a half step higher than G).

    That is probably ANOTHER video or two in the future but this is slowly how I’d get someone from 1-4-5, to using secondary chords…then to using chords that aren’t naturally apart of the key (notice most of the tritone substitutions are borrowed from the parallel minor key… that is C minor).

    I know you didn’t ask for all this but my fingers couldn’t stop ;-).

    So yes, you’re on the right track. Try this next.

    I didnt check this so excuse mistakes. On the go! Gotta go!

    31 Jermaine

    Also, you wouldn’t substitute EVERYTHING at once. You’d only pick one chord maybe and use the tritone substitution. then the next time, you can experiment with another… then another. Not all at once or you use the structure of the song.

    If you substituted EVERY chord like this, you’d get this progression:

    C – Eb – D – Db – C (basically a descending chromatic progression back home). But THAT IS CERTAINLY THE IDEA. THAT’S WHAT MUSIC DOES. Goes somewhere and comes back home. Goes somewhere and comes back home again.

    But here are ways I’d substitute:

    C – Aminor – Ab7 – G – C

    C – Eb7 – D minor – G – C

    C – Aminor – D minor – Db7 – C

    Or you can play the ORIGINAL CHORD and quickly follow thru with the tritone substitution RIGHT AFTER you play the original chord (if you’re doing this, the structure of the progression is preserved so you can afford to add more “follow up substitutions” if you want):

    C – Aminor (Eb7) – Dminor (Ab7) – G – C

    (I do that a lot).

    Now the 7 chords I’m substituting can sound too bland so another video would reveal a SECRET altered chord I love to use on my tritone substitutions instead of the regular boring seventh chords.

    But don’t get me wrong, they will suffice.

    Take care,

    32 Nedra

    Hey Jermaine,

    I am so glad I found this video. These flash cards are exactly what I have been needing. You have an awesome gift to help people on all levels with there progress. Thank you so much for thinking of the begginer and helping us along. May God bless you greatly for pouring yourself into HearandPlay.

    33 Dave Orme

    Thanks again for your *awesome* help, Jermaine! This is just what I was needing to take my playing to the next level.


    34 H McFadden

    Dear Jermain,
    The way you have explained the circle of fifth has helped me understand music a lot better. You make it so clear and easy to understand. Thank you so much for this video.

    35 KingdomJaxx

    Hi Jermaine,
    First of all thanks for all of your information that you have shared so freely. I also thank you for making your products with excellence. I have been playing off and on for years and I truly desire to play. I have bought your 300 page course, DVD 101, CD 702, CD 101 & 102, DVD 202, DVD 300, DVD 500, all and all I have about 11 of your DVDs. I am determined to learn how to play this year. The problem now is I am overwhelmed. I don’t know where to start. LOL.. I have been trying to tackle the 101 DVD because, I am not a total beginner and that information seems the most useful to me. On my own over the years I have taught myself some things by ear. I think that your lessons will really help me.

    I wanted to ask you since I have some songs under my belt is it best for me to start trying to play in public? Or should I wait until I know more?

    The problem is that at my church, I am the devotional leader (Praise and worship leader) and my church musician is actually going through a very hard time in his life, where he and he doesn’t come to our Praise and Worship practices. So on Sundays we (praise and Worsthip team) have to sing with him with out him practicing with us. I have a very good ear. I can learn parts very fast by ear. The problem is if we sing something new, instead of just letting us sing it acapella, he still tries to play and ruins it. I love him, we grew up together, but he is driving me mad. My pastor has hired another musician in addition to the the guy I just described, but he wants to get paid extra for every extra song or segment of service that he plays for. He said it is all about the money. In addition to that everything he plays is from the 80’s and early 90’s.

    All I want is to be able to play for Praise and Worship. This church is a church of about 300 people and my pastor is well known in the area. Our church is the type of church with a lot of singers in it. Our choir is well known for sounding very good but singing bogus songs. I think that we shouldn’t struggle in our music ministry in this way. I am willing but because of my skills not able to help this situation. I would do it for free. So how can I jumpstart my playing while I am learning. This is an emergency. Praise and Worship is a huge part of service and I feel like my hands are tied. If I could play for us it would change everything.

    36 oriel

    Hi Jermaine,

    Is there a store in South Africa that I can purchase your courses. If not what part of your courses do you suggest I purchase online if I was playing ”standard southern gospel” by ear for some time now in church, to transition to your music, as i love everthing that you do.

    Many thanks

    37 Woody


    Would you explain to me what is meant by a half diminished chord? You mention them in your flash cards. I would guess it is a diminished chord with a minor 7th, so, C, E flat, G flat, and B Flat would be a C half diminished chord. But I don’t see a lot of references to half diminished chords.

    One reference book lists a C (tiny zero) 7 as C, E flat, G flat, and A. It’s the A that throws me. I suppose the A they’re referring to is a diminished 7th to the root of C, but this is a guess.

    Why is the term HALF diminished used? What is the reason for the term “Half”

    Any input appreciated. Thank you again.

    38 SERAH

    Hey Jamaine,
    This is really cool. I have had my friends who are instrumentalist in my church try to teach me how to play but ‘i think this is the most important part of learning n they never got to teach me this….ITS AWESOME! thankyou


    39 Minister White

    Jermaine I GOD for you brother, and I would like to say you for these lesson I really learned alot with these courses man. An I hope to see more you I going to purchase another one of your DVD courses just so I can learn more from you. Jermaine you have really been a blessing to us all as a whole in the music ministry. I wanted to ask you a question on how do I put the song together when I get the chords. because sometimes I get stuck on trying to make the song sound like a song and not just chords, I don’t know if I’m making any since or not but hopefully you understand where I’m coming from other that GOD BLESS and THANKS……email me on that if you will at ministerwhite22@yahoo.com..

    40 Minister White

    Jermaine I thank GOD for you brother, and I would like to say you for these lesson I really learned alot with these courses man. An I hope to see more you I going to purchase another one of your DVD courses just so I can learn more from you. Jermaine you have really been a blessing to us all as a whole in the music ministry. I wanted to ask you a question on how do I put the song together when I get the chords. because sometimes I get stuck on trying to make the song sound like a song and not just chords, I don’t know if I’m making any since or not but hopefully you understand where I’m coming from other that GOD BLESS and THANKS……email me on that if you will at ministerwhite22@yahoo.com..

    41 Helga

    Jermaine, you are the MAN. This video is awesome.
    Thank you

    42 connie

    when is the next radio program going to be on the air for listening.

    43 jay

    thanks once again. knew most of this but the way you explain it always helps to clarify things a bit further.

    44 natacha

    Nice teaching..keep it up..It helped me improve..Thx..

    45 Ken Hooten

    I have been looking for the pattern for songs and i have finally found it thank you bro jermaine.

    46 slimerly

    Germaine, I love you for this. God is gonna bless U beyond your wildest dreams!!! The circle 5ths for years was just that, to me, & confusing. In 30 minutes you cleared up a lifetime puzzle. You are an answer to prayer!!! Watch God move in your life, young man!!!! Your lessons are awesome! I can’t thank u enough!! So much of this information is held hostage & hardly shared without literally squeezing it out of someone!!!

    47 TIMMY F


    48 Dick Blocher


    Thank you so very much for this Video, I really love it when you ask challenging question,as you teach. I really am making progress, in that I now know all the major,minor,aug, and dim chords along with their scales. The circle of keys is in my room where I can see the flow.This really a neat Video,and you have helped me more than you can know. God Bless and keep you and your familiy. Your friend,

    Richard in Pennsylvania

    49 Alexandria

    I just have a question, Jermaine, did you learn to play by ear through the methods you now teach, or did playing by ear come naturally to you and you just decided to think of good ways to teach it?

    50 blackboy




    51 aundre

    Hey Jermaine,

    Nice 30 mins. on (especially) the circle of fourths/fifths. I was satisfied with the way you presented it and I learnt a lot.
    But one question. If I am in, say C, being my root and I move to the third being E. Does the chord that I play at the E have to be a E minor chord? or does it depend on the song that I would play another minor chord?

    52 Sandra

    Hello, Jermaine,
    I just found out about your website as I was looking for something else. It is awesome. You are right on the money. Everything is made sooo….. simple in your teaching. What I like most of all is that you “Break the Rules” so to speak, and go straight to the information that is needed to become a successful and accomplished Musician. I am looking forward to also purchasing some of your material. You are a very good instructor.
    Thank you,

    53 Gloria Stewart


    Greeting,the Circle of Fifth session is AWESOME!!!. I have New Knowldge from
    the 12 Keys series i purchase a few years ago. I’m back and need more, you taught
    me how to play in the key of Db major iam the only musician at my church,often
    it is a diffcult or some time a road block pop up with some of the comtempary
    style.Soo, looking forward to purchasing everything you suggest i need.Job well

    54 michael

    Could you please give tutorials on ‘how to play every key(C-Bmajor)perfectly well’

    55 JUNE

    Hi J. G. August 7, 2009

    I’m a beginner !! 58 Yrs Old. Where do I start ?


    June Okla. City, Okla.

    56 Daphne

    Whoa, Jermaine!

    I just found your site today and I’ve been here for hours. I don’t have money or I would just straight up buy your course, but these videos are AMAZING!!! I hate to say it but I’ve studied music and piano off and on for more than 30 years, and I have never gotten such a quick and clean understanding of things. Perhaps my background in theory helped (studied opera) but progressions have mystified since day one. I get it, I finally get it!!!! Thank you so much!


    57 Rebekah Cassidy

    Hey Jermaine!

    This is my first time on this website and I must say it is an honor to be here with you. You’re music, I’ve listened to it since I was a little kid and I’ve gotta say it is so uplifting. I was singing and playing piano, probably since I was about five years old. I have perfect pitch and play by ear. I am truly proud as a new student in this forum to be a part of this incredible, once in a lifetime experience. My story goes like this. I just emerged from a terrible divorce between my mom and dad. I was, and still am being bullied by girls and boys older and bigger than me. I was falling off the cliff! I turned on the radio in the car one day to listen to Contemperary Christian and Old-Time Gospel/Jazz, and I heard a name come on the radio that said, “Jermaine Briggs”. That’s you. And let me tell you what…THE MUSIC INSPIRED ME! It moved me from my cliff and pulled me to my core. I want to ask you a few questions.

    One, If I was going to really have a lesson with Jason White (Which had been my dream),How would that lesson be made? Would I fly down there to the studio?

    Two, The Alterations of the augmented and fifth chords, How are they alike and how are they different?

    Three, What is and Augmented chord?

    Four, How hard are the excercises?

    Five, How will the DVD and Jason White open up a new world to music?

    I hope I get to meet you. At least one of these days.

    Your biggest fan,

    58 Michael Taylor

    Jermaine,you were correct this is the missing link to putting it all together.I’m a vocalist and I started learning to play piano ten years ago because ,as you know most bands are not that thrilled about playing for singers because they have to hold back.this lesson opened my eyes to a whole new way of understandind the flow of songa and music .Thanks a loy and keep it coming.

    59 Cynthia

    I enjoyed this video on the missing piece of the puzzle. I thank God for your gift in music and your willing to share it with others. I review the videos over & over & each time I pick up something I missed the last time. I am really learning how to play by ear & i am so excited about it. You have a way of really explaining this stuff so it’s made easy to catch on. May God continue to use you mightily & breathe a fresh anointing upon you and your ministry. Again, thanks so much for sharing your gift.

    60 hh

    Is it possible you can make the video available as a download as I cannot access youtube videos with my connection.

    Thank you in advance


    61 sarah forrester

    I am trying to find out the site to go to the view and print the flash cards for the circle of 5ths lesson. thank you.

    62 ruben cruz

    if for me the first time enter in this page i hope to search my gol .thank you

    63 Charles

    Jermaine, God bless you man! Your videos are eye openers, thank you so much and keep putting it out there for us.

    64 Denise May

    Wow, Jermaine, you are THE MAN!! I have been trying to teach myself piano off and on for about 30 years (I am 49 now) I have only read/listened to a couple of lessons and already I am hearing that “ding” when something clicks. I am really excited about continuing on and I thank you with all my heart for your lessons. Also I love to hear your voice–that’s important when your taking lessons, really. But your teaching style is like a key that opens parts of my mind to learning–really you are an excellent teacher and thank you–I will be following along to be sure!!!!

    65 chris

    i love to learn piano and would like to receive comments and lessons. thank you

    66 Oma

    Jermaine, I DON’T HAVE A LOT OF TIME TO PRActice, but I enjoyed this video more than anything. I begin to understand how the chord wheel works (never knew before) but am puzzled about one thing. How do you know if you’re playing in the circle of 4th or 5th? Please don’t think I’m too dumb.


    67 Oma

    I forgot to tell you, you are the BEST at explaining.


    68 Fred Morris

    Jermain: I’m 68yr. old guy. I played some flute and sax in church 14yrs. ago but hav’nt done anything since. I retired and met musicians here in Florida. I dug out my flute and was surprised I could even remember a C scale. I play every week with a group now. In the past I somehow was able to ‘improvise’, staying real close to the Key signature scale. Not very artistic, but I had ’em fooled. I wanted to learn more and not just ‘fake’ it, but really know chord progression and improvise over the chords. I am not a very good ear player, but I can read and embellish with sheet music. Your site is fantastic! I have learned so much from just a few of your lessons. I am beginning to be able to improvise and make sense and am feeling that I know where a song is going, which has improved my ear playing greatly.
    You have a gift. Thank you.

    69 Ken

    Hey Jermaine,
    this is just totally awesome, I still can’t believe it’s free. Not sure if I have it nailed but the idea is sure understood. I’m struggling to play by ear,with your help I’ll kill 2 birds with one stone, (1). you gave me the formula and (2). I won’t be stuck to 1-4-5 progressions any more.
    Thanks much.

    70 mario burgos

    I will like more information on pentatonic scale if sell a book or like does flash card . I PLAY saxophone in what way can you help me to become better as ether playing by ear or reading music .thankyou 860 539-2834

    71 Vanessa1237

    I love this video so much !!! It helped me to understand the life cycle of music LOL xDD OK…I wanna say thanks for the video ^^ And please don’t forget to post more videos k ^^

    72 Carlis

    Hi Jermaine,
    I don’t have to tell how much I love what you’re doing, because I’m sure you already know since I’ve been with you for quite some time now. So I would just like to ask if you would be so kind as to address this issue for me in layman terms. I understand what you mean by the number system, but I am still not clear when it relates to the question I asked about my chords not making sense to me. Don’t get me wrong! The progressions sound great, but I need to be able to understand in my own mind why they are not diatonic to the particular scale where I’m using the 7-3-6-2-5-1-4, if what I’m saying doesn’t sound too far out there!

    Anyway, here’s my question again: I would like to know when I’m following the number system in major 7-3-6-2-5-1-4 Why can’t I understand where these chords are coming from? For example: I know that the 7 in C major is Bmin7b5, or Bdim. Then it goes to the 3rd chord which in major it would be Emin, or Emin7, if it were a four part chord and so on, but I’m coming up with what looks like a E7#5(add G). The 6th 
    chord seems to be fine. I know it’s an Amin9, but then that’s followed by the 2nd chord that would be some kind of D minor, but instead it turns out to be something like a D 13 of some sort with that B up top in the right hand.
    I could go on with my analysis, but I think you can understand my confusion.
    Can you please tell me what’s happening to the 7-3-6-2-5-1-4?
    Is it because everything is in a minor tonality and not major? Maybe it is in major, and all the rules got broken, as they use to tell me when I first started to learn music. I was told back in the day, that we learn all these rules just to break them, but I would still like to have an idea why I’m breaking them. So if I’m ever trying to explain it to someone else I can make it crystal clear for them. Can you help me “J” and break it down for me!

    Thanks C. Smith

    73 Jermaine Griggs


    Great questions!

    You’re on the right track with understanding your diatonic chords… the “defaults.”

    But imagine if every song in the world stuck with tones inside it’s scale… we’d have pretty similar sounding songs. It’s sort of like us remaining to stay on earth and never sending folks to the moon. Or staying in our own respective countries and never crossing the atlantic/pacific.

    Yes, every key establishes rules and diatonic chords that form the sounds we’re used to hearing. And for the most part, most songs follow them. You’ll be hard pressed to find majority of songs NOT having minor chords on their 2nd and 6th tones often. Most do. Same with major on 1st, 4th, and 5th.

    But then enter “SUBSTITUTIONS” and “ALTERATIONS.”

    To get more flavor, we sharp and flat certain tones in our chords. We “borrow” chords from the parallel minor key. We take chords from neighbors on the circle of fifths chart too since the keys resemble more than they differ.

    Where there is minor, we found out we could use this “secondary dominant” concept to provide a stronger pull to the next chord (we could swap out minor for dominant chords giving us resolution to the very next chord usually a fifth away). Thus, why you get dominant chords on the 2, 3, 6, or practically any tone of the scale.

    Then song writers get tired of plain old dominant chords so they start altering them. Instead of a dominant 9, how about sharping the 9? How about sharping (raising) the 5? Enter the Dominant 7 #9 # 5 chord… very very very popular. Great way to transition to minor chords. Or it’s cousin, Dominant 7 b9 #5… or Dominant 7 b9 b5.

    So as you’ve said, KNOW the rules because songs will follow them, don’t get me wrong. But don’t stay there. As you explore more and more chords, voicings, and progressions, you’ll see just how alterations and substitutions are used. There are tons. The ear simply gets used to them just like any other diatonic chord. I know without a doubt when I hear an altered chord and just like major, minor, diminished, and augmented, I go to my mental file drawer and pull out the right altered chords I need for the situation.

    So you’ve crossed the famous bridge from the comfortable, predictable “diatonic chords” into the land of alterations, substitutions, borrowing, reharmonization, et al. Congrats!


    74 Carlis

    Hey Jermaine

    Maybe I should have mentioned that I was going by the voicings that you guys use in video
    examples, that have such great sound to them instead of the basic triads!

    C. Smith

    75 Carlis

    Jermaine, that was absolutely great!!

    Trust me when I say, no one ever answered those questions for me before with such clarity, or maybe they were not totally sure of what was going on themselves. It could have been that they did not fully understand my questions. I would hate to think that they were afraid to supply me with that knowledge, as you mentioned in one of your publications! Anyway, I just want to thank you from the bottom of my heart, because after all these years, I am “Free At Last”. Yes make no doubt about it! Even though I’m not very gospel oriented. You’ve taken over the number one spot in my all time favorite teacher/instructor/go to person for music understanding.
    Thank you so much :-)

    C. Smith

    76 Nikolaj B

    Hi Jermaine,

    I’ve watched all 4 videos and I understand pretty much all of what of you said – I think :)

    Theres is one think I don’t get. If you play a song in the key of G – its not hard to play the right hand, but how do you know where to start your playing with the left?

    Lets say you play ‘Silent night, Holy night’ in the key of G. The left hand starts play in the D note, but how do you know your left hand is supposed to play the G major chord? I believe there is something I’m missing.

    I hope you understand my question and can explain it to me :)

    I look forward to your answer.


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    78 Bradford Jobs

    I adored your rich site. topnotch information. I hope you release more. I will continue subscribing

    79 Erryck Floyd

    I’m glad to meet this forum. God bless you J. B for this knowledge that you have been giving since 9yrs ago that I met you. Ok! Now..I’d like to know from you, your best (advised) chord progressions (advanced) for b5-7-3-6-2-5-1-4…..please help me out. I have a presentation soon. Thanks. God bless

    80 margaret

    how I am sorry that I could stay for the video today because I had to go to work .

    81 Edgardo

    Hi, I checkk your blog regularly. Your humoristiic style is witty,
    keep up the good work!

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