Hi guys, this is Jason Zach from Nathaniel School of Music. In this tutorial, which is kind of a theory as well as a piano instruction, so do get your pianos out and your books out, both will be helpful. We are going to look beyond triads but without really adding new notes to the party. We are still going to take the same old three notes which make a chord or a triad as we know them. A triad is known as a three note chord. So we take the same notes to build the three note structure. So hopefully there will be a few things you did not know about triads or maybe if you already knew them, this would still be a lot of fun. So do watch till the very end, that will be awesome. So first off, let's just look at normal triads, how we form them. Major triads, C major for instance, C-E-G that we are not going to talk about in this lesson, minor triads, C-E-Flat-G, then we have our diminished triads, C-E-Flat-G-Flat, then we have our augmented triads, C-E-G sharp, then we have our suspensions, sus-4, sus-2 and that's pretty much it. So assuming we know that, I am still going to dive a bit deeper in this lesson. So before we get started, it will be nice if you could consider hitting that bell icon and turn on the subscribe if you are a regular viewer of our channel, if you are not, do follow through till the end or somewhere towards the end and if you like the lesson, do give us a thumbs up, do hit the subscribe and also leave us a comment with what you thought about the lesson. And the notes for this lesson will be available on our Patreon page forward slash Jason Zach and for just $5 a month as your subscription, you will get access to my handwritten notes, backing tracks, wherever applicable in our lessons, staff notation, MIDI files and the works. So do consider heading over to Patreon.com and check out the perks there. Let's get cracking. So the first thing about a triad you might not have known is the fact that we can take a good old chord like C major like this one and change the base note of this chord. And whenever we change the base note of a chord, we call it a slash chord. So you take C major in your right hand is a good way to start and the traditional way of playing it would be with a C base, but with a slash chord concept, you're going to find other base notes and a good way to find the other base notes would be from the triad itself. C major has three notes, C, E, G. What are the remaining notes? E and G. E is the third and G is the fifth. So you now end up playing C, E, G with a E in the base or C major with a G in the base. And this is very useful in music because if I place C triad with an E base, even though I've not added a note, I've changed the function or I've changed the purpose of the chord to not be stable anymore. It's a rather unstable entity, right? It wants to go somewhere else while if you play C major just with C in the base, it's happy where it is. So C major slash E or C slash E, by the way, where does it want to go? It would like to go to F major or maybe even an F minor, which will be played in their normal root position. So C slash E going to F slash F and then C slash G seems to again feel tense and this would like to go to the G major, which is the dominant of C major. So C, C slash G going to G major. So C slash E wants to go to F, C slash G wants to go to G. Of course, that resolves back to C slash C, which is just C major. OK, so that's the slash chord concept. A lot more on slash chords. You can check out some of our videos, which we leave you in the description. We've spent a lot of time on slash chords on our channel. The other kind of way you can make triads a lot more interesting for the year would be to spread out the chord a bit more. This can be very useful when you're orchestrating music, when you're arranging music with sounds other than the piano, maybe a string orchestra or an entire ensemble with horns and wind instruments and whatnot. You want to spread out the instruments or the notes as much as you can. And the piano method of spreading out stuff, frankly, doesn't spread much because the third is very close. And as you go deeper, it sounds really bad. So a good functional use on the piano when you want to play deep stuff is by spreading your chord. So in this case, I've taken the C major chord C and instead of playing E in the middle, I'm playing E at the top. So this is how I play my chords in the left hand. Do not ever play your chords in the left hand like this, especially so low.  So this is how you want to play it. Now, if you cannot stretch, you can always hit the last note with your right hand and then use the other fingers with the melody. There are a lot of ways to do that. Or if you cannot stretch exactly this way, then it's OK. You can still hold on your pedal and play it as an arpeggio. So spread chords sound beautiful. There we go. There we go. That's B flat in there, E flat in there, F minor, F sharp major. And so on. These are some slash chords. And when you go from chord to chord or still tried to try it, I still am playing three notes per chord, as I promised you in the lesson. D major, G minor. And the beauty of spread chords is when you play them with different bass notes. Call this a G minor with a D bass. That's a lot of weight to the sound. So as you see, I'm playing spread chords primarily in my left hand in this illustration. But you can do it even in your right hand or you could have a combination of the right hand as well as the left hand. So spread chords and slash chords are really exciting ways to bring life to the triads and use them in different ways. Slash chords change the energy state of the chord, while spread chords allow you to perform the chord with many instrumentalists like an orchestra or a string quartet or even a choir. And even on the piano and the bass clef, since the frequencies can tend to collide, we can play it effortlessly without any kind of jarring or muddy kind of sound. You won't have a sound engineer going EQ, EQ you out, so to speak. OK, guys, so the next style of farming triads, if you will, would be to not form it the traditional way using thirds. The normal way to form triads is one, three, five. But another nice strategy would be you can form it with fours. And if you take perfect fours, for instance, C, you ask yourself, what is C's perfect fourth? That would be F, C, F. And then another perfect fourth, if you grow forward. That's what we call as a quartal chord. And there are many kinds of quartal chords in music. You have a normal C quartal chord, whose formula would be in terms of scale degrees or chord degrees. One, four, seven flat. Then you have another kind of quartal chord, which will be one, four, seven. OK, that'll be we notate it sometimes with a Q plus symbol. OK, and then we have a this sort of a quartal, which is a bit Lydian or very, very dreamy in nature, if you ask me, because it has the sharp four or the tritone. So we call that sharp four Q, one, four sharp. And then a major seventh up top. So, normal quartal Q plus, quartal plus, or the Lydian quartal or the sharp four Q. OK, now, quartal chords are great to to kind of add within the same chord itself. So if you're on C. You can kind of. You can kind of. Keep the C going in your base, but you can float around with these quartal chords. So very useful chord. Again, we leave a couple of videos in the description where we've dived into the concept of quartal chords even more. And another chord, which I find very useful, especially in my well, both hands, actually, but more in the left hand will be quintal chords. So a quintal chord would be where you form a chord with fifths. Again, we are going beyond the third's notion, which is the traditional triad formation, right, which is that. So quintal chords would be in fifths and you can use it really well in the left hand, like. For rhythm like that or for chords like this. So you may have a G major going on in the band, but you could voice it with this quintal sound. So what is a quintal chord? It's a root, perfect five, and then another perfect five, or another fifth along with the fifth. So it's two fifths played together, quintal five, right? So this could imply a major chord, a major chord, or it could even imply a minor chord. So in your band, if someone's playing, let's say in this case, a G minor, that would work. It would be like a minor at nine kind of a sound. Or if the band is playing a G major, you can kind of continue to play this. And we have a lot of strategies where you can combine the quintal sound with an octave, vanilla octave, and the spread third which I showed you where you played up top, we also call it a 10th. That's your nine, your eight also known as octave, and then you have your 10th up top. So stuff like this makes for a very dynamic left hand pattern, where you float the top note, but retain the root and fifth in the bottom. That's your quintal voicing, great for piano intros if you're doing things in your right hand as well. You know, like just doing stuff like, let's say I take C quintal and A quintal, maybe F now, may want to also stretch out, practice a bit of stretching exercises and don't overdo this for too long on the piano because it will stretch your hand a bit more. So you may need to be warmed up.  So do a few warm up drills. I've done a few exercises on posture, so do watch some of those videos as well on your channel. And if you're a first time viewer to our channel, please note that there are a lot of lessons you would find on our channel homepage. You can access the videos by topic. You can also access them as playlist or you can head over to our website, nethanielschool.com and under the video courses area or under the free tutorials area, you can get a very structured learning system in place for you to learn. So let's move forward. The next strategy for voicing or to play triads in a way you might not know or in a way which is not officially printed in music theory textbooks. I think that's what this is about is you take a fifth chord. A fifth chord would be a root, a fifth and the octave on top. So that would be root, fifth, octave and this is a root, perfect fifth and the perfect octave. Now you could play that chord either in root position, D, A, D or in inversion, which is A, D, A, depending on the reach, depending on the sound or the vibe you want. And in the left hand, here's the thing. Remember, I'm not going more than three notes in this lesson. It's still chords with just three notes. So you would copy the D, you would copy the A. If you play a D, it automatically reinforces the D fifth sound. If you play an A, it makes it a very suspended sound, a very ASUS4 sound. But why not try some other notes like a D flat? Wow, now what was that? It's this to me sounds like way more than three notes, but actually it's still just three notes. We're just taking D, A, D, right hand never changed and I'm adding that B flat. So it's the base note which kind of dictates terms to the overall sound of the chord or the overall emotion. If I play D, it's a plain and simple chord, but B flat, because of the intervals it forms on top. It forms the major third, forms the major seven. So you could argue it's some kind of a major seventh chord. B flat major seventh without the F, which we can sneak in later. So you can explore your chords, your three note structures this way by just seeing what you like, you know, what goes well with that fifth chord. So if you take D, you know, that's very dry and normal. A is also okay because it's part of the chord. So you're not adding the third note, but if you do G, wow, that creates a nice G sus4 vibe, right? G sus4 or E, making another nice suspended vibe with a minor seventh. F, that's a nice deep, thick kind of sound. F major sixth vibe. That's B. That's C, forming a nice C sus, very suspended sounds. And also you get those additional minor seventh and major seventh intervals. And F sharp works. A flat or G sharp is okay. B flat is probably my favorite. Now B is my new favorite. See, wow, everything seems to sound good. So that's what I want you to explore. So even if you're diatonic to the key of, let's say D, you know, D has two sharps, namely F sharp and C sharp. So even if you're diatonic to the key of D, you can build some very nice harmonic motion or chord progressions if you will by just focusing on your left hand and making sure the right hand just stays playing a fifth chord. So you can make music maybe like this. D. Ta na D. Ta na na A. Ta na na D. G, look at my right hand, it's just there. G. Ta na na na B minor. Ta na na na D major. Na na na A. La da da da da. G. La da da da da. F sharp. Progression. So it's some kind of B minor. G. But in a way I can argue that this is a sound which is not very commonly heard because most piano players who learn in the textbook way will just stick with triads. But this is the same chord, but it just opens out new possibilities I guess. So explore fifth chords. Again, I'll leave a few videos regarding fifth chord exercises which will help you grasp the concept better in the description, check those out. And a couple more ways to use triads which I think you should definitely know and use in your music. What about bigger, jazier seventh chords and other jazz tensions, you know, those structures? We can do that with just three notes. So a good voicing strategy which I have for you would be play the root of any of the chords you wish to do. Let's say you wanna form an F major seventh. So you play, tell yourself, okay, I'll play the root note in my left hand. That's F. Now the major seventh will contain one, the third, the fifth, and the seventh. You can say bye-bye to the fifth. You don't need the fifth actually because the fifth doesn't make the sound obviously that chord. Unless of course it's a diminished chord or a minor seventh flat five. Those chords need a diminished fifth or it could even be an augmented fifth which is needed. But for chords which just need a perfect fifth like an F major seventh or a minor seventh or a dominant seventh or, you know, a minor seventh flat, a minor major seventh. All of these chords you can kind of remove off the fifth. So I could do F and I could tell myself, okay, what are the remaining notes of the chord? F major seventh. So that'll be the third and the seventh. What is the third of F major? A. What is the seventh of F major? E. So whack that all together. These three notes. I add an octave for reinforcement. It's a nice way to play F major seventh. And in the new chords you can also add a C that closes the puzzle. But this is a nice sound. And what I like about just playing the third and the seventh is you can then play it lower as well with that F, with that root. And I think again, it's a very open, it's a very open sound. And it sounds good in all parts of the keyboard. So basically you either do third, seventh or you do seventh and third. Now if you apply this concept to maybe a dominant seventh chord. Same concept, you do third, seventh flat because a dominant seventh has a seventh flat. And if you wanna re-voice that, play it lower, that would be seventh flat with the three. It's a nice voicing, a little tritone in there actually. Then if you're doing a minor seventh chord. And then if you do a, you know, that's a minor seventh with a flat three and a flat seven. If you do a two, five, one, you can move very smoothly. F minor seventh for you. B flat dominant seventh, E flat major seventh. It's just one note changes, right? F minor seventh, which is A flat and E flat. Then B flat dominant seventh, which is just keeping that A flat coming down to D. And then E flat major seventh, you just drop that A flat down to G. So again, B flat, E flat, which is your two, five, one. One more time. Two, five, one. Still using just three notes. So I have one more interesting strategy with just three note chords for you before we sign off. And that is a modal use of triads or three note chords. So what do you do is you want to get yourself a chord.  A mode is basically a scale. In this context, let's just call it a scale. So if you want to, let's say showcase, I'll just show you a few modes in this lesson. If you wanna showcase the Lydian scale or the Lydian mode to someone, because it's rather different from major, Lydian has a sharp four in there. So if you wanna give people a chord which inspires them to be on the world of Lydian, you could just ask yourself which are, how do I just get three notes into play so that I get the most important ingredients of the Lydian out. And the most important ingredients of the Lydian would be the sharp four for sure, because that's what differentiates it from the major scale, that's major, that's Lydian. So a good Lydian chord would be what I call as the Simpsons chord, that one. So C, E, F sharp, that's just three notes and it would be a very nice modal chord. You can also do C, F sharp, B, that would also be a very nice Lydian sound or you can even do C, G, B, little more timid or C, F sharp, G, all these could spell out the Lydian. And then what else? Let's look at another mode. What if you wanted a Phrygian chord, which is it's a minor scale with a flat two or a major scale with a flat two, flat three, flat six, flat seven. That one, that's C Phrygian. So what's a good way to give someone the idea that you're on the Phrygian? Oh yes, totally that. That's one, two, flat, four, perfect fourth or you could even do basically anything with a two flat would do. C, D flat, E flat or you could also do that slightly timid but you're not implying the two flat but it kind of works. That works. And yeah, that's Phrygian. So Phrygian, Lydian and then if you want something very mix or Lydian, I think this would work very well for me. This can even be Dorian. So that would be one, four, seven flat kind of the quartile chord which I explained earlier or you can do C, E, B flat and even do a C sus four but I like this for mix or Lydian or even Dorian. This is also a nice Dorian chord. Then would be flat three, normal six and flat seven. So this is a decent enough, right guys? So let's just recap. So these may be a few things about three note chords which you may not have found in a traditional music textbook. I have a few as well. So when you research these books, it's always gonna show you diatonic chord theory. That's the triads. That's, you know, this, this, this, C, E, G but in the real world, a lot of the professional musicians, even the pros who play pop songs or country songs, not jazz at all, just normal music, don't play chords this way.  You just have to hold C and sometimes you have to hold literally a shape which will not work in the real world but because that keyboard instrument is made that way, your entire career will be to play chords that way which is never going to allow your left hand to grow. So hopefully this lesson gives you some insights into what the left hand can actually do or what the left hand should not do. The left hand definitely should not play triads like that, you know, so try to think beyond the box and these five methods were what I thought was a bit beyond the traditional box which is how you would normally learn piano from a textbook or from a normal syllabus and this is what is found in actual songs. So we looked at slash and spread chords, slash chords with a different base, spread chords where you take the third and push it outside the octave, it's over the octave chords. Then we looked at quartile and quintile voicing, quartile voicing in fours, quintile in fives, very useful for a lot of things as we saw. Then you take a fifth chord in the right hand and stack it up with different notes, the different note rather, in the left hand to give you a very big, rich sound. Then we looked at voicing of seventh chords where you take the root of the seventh chord and in the right hand, you look at either the third or the seventh to play. You can do three seven or you can do seven three and last but not least, we looked at modal chords where you just spell out a mode, you bring out the vibe of a mode by finding the notes or the notes which really add spice to that performance. Right guys, again, this is Jason Zach from Nathaniel School of Music. Thanks a ton for watching the lesson. I will catch you in the next one and before I sign off, if you haven't already, it'll be awesome if you could give the video a like, hit the subscribe button. There's a bell icon for regular notifications. We release videos daily. In fact, so you don't want to miss anything and on NathanielSchool.com, you can find more structured courses on these subjects. You can also learn with us in person. We have proper six month curriculum which you could follow at our school and that's about it. Patreon has some notes of all the stuff which we talked about. So do head over there as well and cheers, catch you in the next one. Bye.


Time now for Edmund O'Brien as Johnny dollar dollar thank goodness. I found you why what's up You've got to leave for New York dollar immediately a policy holder. He's afraid for his life here We go again. Who's he afraid of well? He wouldn't say over the telephone all I know is to us He's worth a hundred thousand dollars alive. Well, that makes it simple. He must be afraid of somebody to whom he's worth a hundred thousand dollars dead Edmund O'Brien in a transcribed adventure of the man with the action-packed expense account America's fabulous freelance insurance investigator yours truly Johnny dollar Expense account submitted by special investigator Johnny dollar to home office American continental life insurance company Hartford, Connecticut the following is an accounting of my expenditures fulfilling your assignment as a Well as a bodyguard the body being that of your late policy holder Robert W. Perry Expense account item one fair on night train Hartford to New York 365 expense account item to a dollar 80 taxi to lower Manhattan following morning to officers Perry and Van Bruton Importers arriving as promised at exactly 9 a.m. Can I help you? Yes, you certainly can my name is Johnny dollar I have an appointment with mr. Perry for nine o'clock. Oh, yes from the insurance company Well, you're right on time. Yes, they told me I better be and I'm glad that I am Mr. Perry just came in. He's alone and waiting for you. I'll buzz him that you're here. Thanks Left of your policy holder mr. Perry was just sliding out of a swivel chair as I hit the room The top of his desk had erupted and splinters of mahogany pointed their sharp fingers upward through lazy circles of smoke Swirling toward the ceiling the buzzer from his secretary's desk had been rigged to a booby trap Mr. Perry stay away from him. Come on. There's nothing you can do. He's dead Whatever There's a doctor on the third floor. Shall I call him? Never mind the doctor.  Okay, miss. I'll take it easy It was also sudden. Well, that's not hard to figure out Somebody wanted to give you a boss mr. Perry a shortcut through life So whoever it was figured out that a secretary would never buzz a boss Unless he was at his desk They rigged up a bomb somewhere in his desk that would go off when you buzzed him No, no, wait a minute. Will you wait a minute? Don't go hysterical. I mean Excitement enough and there'll be more when the police get here so you keep cool But I did it you saw me do it look honey the way you put it I killed him by coming in here and giving you my name so you would buzz him and I was here to protect him So drop it will you? I'm sorry and tell me what about yesterday was Perry here. Yes All day what time was it when you last used the buzzer? Oh, I right up to the last minute about 530 who left the office first. Oh, mr. Perry. He always leaves first. I lock up And the looks of things you should have used more locks last night somebody got in here to do some wiring Oh, I forgot that fire alarm. Look before the police arrived. Do you know why I was sent here? Oh, yes, mr. Perry felt that his life was in danger He thought that well with a hundred thousand dollar policy the Insurance company would do everything they could to help keep him alive. Oh, he didn't have much of a chance. Did we? What was he afraid of? I don't know Okay Tell me what were his other appointments for today? He only had to His partner mr. Van Bruton at 11 and later. No one at a time, please and Bruton Anything special about them eating? Oh, yes, mr. Van Bruton arrived just yesterday from Holland. Oh You mean there was a branch of this firm in Holland. Yes Mr. Perry was buying out Van Bruton's interest They had a final meeting at Van Bruton's hotel last night. I say Van Bruton was coming by this morning To pick up his money cash No, a cashier's check the bank is to deliver it here at 10 30. Perry's other appointment. Who is that? Christine his wife Now she tells me Christine the beneficiary. Yes, she wouldn't have been the beneficiary and about another two weeks They were getting a divorce Thanks for the motive You don't like her. Well, I Didn't mean it that way How about Perry? Did you like him? Okay, here's an easy one. What's your name Susan? Susan Gates Now isn't that about enough? Okay, Susan. You better save your voice during the next few hours. You're gonna have to do a lot of talking Where else is the fire in here? Well, you'll have to stick around when the cops get here somebody will get burned The fireman should have stuck around because the cops arrived in a blaze of glory It was a very high-class investigation to lieutenants Finally after about an hour the police photographer ran out of flash bulbs the office of the deceased ran out of fingerprints and The lieutenants ran out of questions. So the on-the-scene phase of the investigation was closed At about five minutes of 11 I left the police packing up their notebooks their clues and the body and went into the outer office Susan looked like she could use a big broad shoulder to weep on but unfortunately. I was wearing my light gray suit About then a dark blue suit and a deep green voice entered the room from the car There's a fellow here says he belongs here His name is Van Bruton.  Does it never cross tongues with an Irish woman. All right, send him in officer All right, you can coin It's a policeman out there It's our trouble here. I am brainless and Bruton There's mr. Perry. What? He is waiting for me. No, no, but my boy. He's not keeping any Dead, this is not possible last night. I saw him. He was well What happened? He was hit by a buzzbomb Push bomb. Oh, please you you mean that there was foul play. Yes. Yes. It was very foul. Oh, please I Missed it on My first visit in all these years since before the war it was to be so happy But now tragedy like this he was a good man or a good partner. I Understand that as of last night you were no longer partners. Yeah, yeah I am glad you mentioned that I realized of course that it is Indelicate to speak of such things as money at a time like this, but That is why I am here To receive my payment just because Perry got his there's no reason for you not getting yours Oh, but you miss understand me. I am deeply grieve but Well since the transaction was consummated What is there to do our delay would be a neat needless waste of money I have already paid for passage back to unfurl tomorrow. You're your check is here, mr. Van Booth. Oh Here you are Thank you All of my years of business this is indeed the saddest moment Yeah Well, if I didn't have some work to do I'd sit down with you and we'd all have a good cry Expense account item three ninety cents phone call to the whole office Look honey, this is Johnny dollar. I want to speak to mr. Gordon While I'm telling him what I've got to tell him and maybe you'd better sit there in his lap with some smelling sauce We're making out out about a hundred thousand dollars What's that? Yeah, you know you should have sent me earlier. Somebody turn mr. Perry into a firecracker just after I got here He's dead. Oh, oh, that's bad news big policy Yeah, what I want to know is shall I stay on the case? Well certainly done it by all means. Oh Is there a chance of Proving suicide. There's a non-payment clause. Yeah to make this one a suicide. I'd have to be a Santa Claus Nobody could hate himself enough to do it this way What are the fraud possibilities fair there's an estranged wife She's the beneficiary, but she wouldn't have been in the couple of weeks divorce coming up. I'll start with her All right dollar. Good luck, but watch those expenses my Gordon. I'm surprised I think an insurance man would be the first to want to see a fellow live a little Christine Perry's apartment was on certain place overlooking the East River I took the elevator up to the 24th floor and there I discovered that our garden fresh widow was living high in more ways than one Everything about the place was French the maid who led me into the living room through a long fire the decor and the perfume Which reminded you that breathing can be fun. I Looked up from enjoying my nose to see Mrs. Perry looking down hers Mrs. Perry I Believe we can dispense with the social amenities You're an insurance investigator Interested in the death of my husband So naturally you're here because you've jumped to the conclusion that I killed him You're the one that's jumping to conclusions lady and careful. You don't break your leg What do you want the policies in order? Premiums are fully paid. You know, I'm not quite sure what I want I know that you've got a great motive so far the only motive I found You haven't had much time to look at you check. This is my first stop. Maybe you can help me Do you know anyone who would be happier with your husband out of the way? I? Know very little about my husband's friends for that matter is activities for the past six months That's when I left him Well, that's not much help for either of us, you know without someone else to suspect I may just have to concentrate on you Mr. Dollar, I picked the men I want to concentrate on me I hope you're as long on alibis as you are short on temper Where were you last night with a friend? Al Donovan For the while the same place my husband was But I have witnesses to prove who was with him Anybody at the clover club can tell you saved me a trip. I can't afford the prices. They get over there certainly a pleasure My husband was with his beautiful little secretary Susan Gates well I Wouldn't be more surprised if your late husband walked through that door and said all right, mister. That's enough how yeah How much did you hear? I'm a big guy, baby six foot four. I've got big ears to match Oh, please would this be mr. Donovan your companion of last evening.  How can I help you if you lie to me?   She was doing just fine till you dropped in mr. You've been asking a lot of questions Now I'm gonna give you one answer All right, Christine so much for the wise guy Now about you and your alibi You wasn't with me at the clover club last night And if it's so easy to prove that your husband was there with his secretary Who were you there with?  Donovan giving her a few loving cuffs and finally the pair of them flying out the door Just then the noon whistle blew somewhere in New York and I decided to allow myself the luxury of one full minute for lunch Returned to the second act of Johnny dollar, but first And now we return to the second act of yours truly Johnny dollars starring Edmond O'Brien I spent the minute I took out for lunch eating a handful of Mrs. Perry's bonbons on the run I hit the street just in time to see Donovan pushing Christine Perry into a cream-colored convertible when they got rolling I piled into an even yellower vehicle with a meter on it and started off Crosstown playing tag through traffic At 57th and Broadway things got complicated My cab was three cars behind them when a red light flashed them to a stop Then the door of their car flew open Christine dashed out across the street and melted into the river of humanity flowing down into the subway Since Al Donovan didn't follow her I followed him when he finally pulled to a stop He took two chances. He parked in a low parking zone and walked straight into the building beside it a police station This is mr. Dollar lieutenant. He's been waiting for you Well, my name is Johnny dollar lieutenant here are my credentials Insurance, huh? Yeah. Yeah, the Perry murder in particular. You've come to the right place dollar A man named Donovan just walked in here and made a full confession. He what that's right My clerk's just typing it up in the meantime the gentleman is down in the tank having a bite of lunch on the city He confessed Well, does his story add up as far as I know and I haven't heard too much about the keys myself It's not in my precinct. Yeah, but what did he use for a motive jealousy says he's in love wanted to marry Perry's wife Did he say how he managed it? Yeah, he stole a key to the office from the wife's apartment Entered the building last night and wired the bomb to the buzzer system. Yeah Yes guys do a lot of strange things in the name of love. It looks like Donovan did Yeah, he either killed a man or he's trying to cover up for someone who did Say lieutenant don't execute him for a couple of days with it I spent the rest of the afternoon downtown and the offices of Perry and van Bruten importers the partners correspondence told me two things They had been extremely friendly and van Bruten was extremely bold Perry had been sending him two pays from a famous Hollywood makeup firm At 430 I got to the employment files which rocked me with two minor explosions of their own First I learned that Al Donovan had been employed over a period of years as Perry's bodyguard And that he had been canned the day before the murder That confession of his which had been a little hard to swallow was suddenly more digestible On top of this came blast number two the employment application of Perry secretary in a Susan Gates Inform me that during the war She had worked in a munitions plant her specialty wiring bomb When the Susan Gates reached home at 830 she found a visitor me professional secret It scared me What do you want? Why did you come here this way? I want to bring you the good news I heard on the radio that Al Donovan confessed to Perry's murder. Oh, I Can't believe it. Why not? Who do you like for the spot? Christine Al is coming up for Well, I'd like to agree with you if it turns out that Christine wound up her husband's life with a bang the company that hired me saves A hundred thousand dollars, but I don't know she claims she has all kinds of alibis One of them is you me. Yeah, did you see her at the clover club last night? Yes, I Yeah, I know who you were with your boss. There's nothing wrong with that. Oh, I'm not preaching a sermon I I want to know who she was with I don't know Man, I'd never seen before mr. Perry knew him, but he wouldn't tell me who he was Why not? I don't know he said I might get the wrong idea about what I don't know We didn't sit there and talk about it all night. So Why should we sit here and talk about it all night? All right. All right Good heavens when a census taker shows up and asks a lot of questions people answer them When an investigator tries to do his job they they make the proverbial clam look like a blabbermouth look Look, mr. Dollar, believe me. This has been a greater shock to me than to anyone else Yes, accepting of course your late employer mr. Perry How long did you work for him for years? Why'd you work before then? Well, I work. Let me help you Bombs, huh wiring fuses remember? All right. I remember good Maybe you'll remember a little more.  Who is he? I tell you I don't know was it Van Bruton? No, just make sure you don't keep going Susan Susan snapped the spring lock to open the door the gun outside opened up the first slug quarter in the left shoulder Spinning her out of the way of the rest of them. It was getting monotonous every time a buzzer went off things started booming Susan was sprawled out on the floor in front of the door and open it I had a mover by the time I did the hallway outside was empty. Okay. Okay now take it easy Come on won't start hurting for a couple of minutes. We'll have a doctor here by then. He'll give you something Please please try to keep calm Throw my coat over here No, try not to move You're gonna ruin this rod never mind the rug what we want to worry about is who tried to ruin you What do they do to me? What'll who do to you? They'll arrest me. They don't arrest people for getting shot. You have any idea who it was? That man in the office this morning The one who picked up the check then Bruton. No, no, he wasn't then Bruton He was a phony. Yeah, and you still gave him that check Yes Well, I won't ask you why You gave him that check and then try to blackmail him. Is that right? They'll arrest me. I wouldn't be surprised. Who is this guy? Where can I find him? Come on don't pass out on me now his name quick. Come on, then Sam. Where's he live? Marsden hotel under his own name. No, I Don't blame you I could use a few moments of unconsciousness myself Marsden hotel didn't have a Dutch name on the register So I got a hold of the housekeeper and found out how many rooms her staff hadn't been able to make up all day Because of no disturbed signs on their doors, and then I went a calling at those particular rooms On the ninth floor. I awakened one old maid on the seventh I started a bunch of poker players who thought they were being raided and on the fourth I struck the door of 427 and the jackpot Sorry, I must have the wrong room I Started up the hall after the fire ax when I got to it.    You look good barbecue that I'll make a deal with you And if I like what I hear I'll show you how to get out of here alive.  You've been five minutes of bedroom. Yeah, you'd better be alive without cold. What's the matter with him? He would be all right It's under sedatives Where did this identity switch start come on hurry up talk? I smell smoke I knew then Bruton from Antwerp. I know about the sale of his entrance. I know the girl in the office here Never seen from Bruton Look we go now don't get up. Come on keep talking. I can feel it getting warm in here It's a firefighter's we really say don't be too sure they always start at the top floor and work their way down Come on.  I don't know let me tell you She's been sending old van Bruton to pays for the last four years gray ones my red-headed friend I can stand up now We go out from here. No We go out from here. No. Yes, I'll call Expense account item for a dollar forty night letter informing you that American Continental Would have to meet payment of claim to Mrs. Christine Perry Innocent widow of the insured The only thing she was guilty of was trying to stay on the right side of a hot-tempered boyfriend She lied about who she was with at the clover club not to fix herself an alibi But to keep al donovan from learning that she'd been out with another man That man being the real mr. Van Bruton who had only taken her out to try to talk her into reconciling with his friend her husband Expense account item five a hundred dollars fine for turning in a false alarm, which since you're paying it with me is just fine Expense account total $463 yours Truly Johnny dollar Yours truly Johnny dollars stars Edmond O'Brien in the title role and is written by Paul Dudley and gilded out with music composed and Conducted by Leith Stevens Featured in our cast where Walter Burke Jean Bates Joe Duvall Ted de Corsia Joyce McCluskey and Raymond Burr Yours truly Johnny dollar is produced and directed by Jaime del Valle Getting next week. We are moving to a new time and day And we hope you'll join us on Tuesday evenings when Edmond O'Brien returns in another transcribed adventure of yours truly Johnny dollar you who Mrs. Bloom Molly Goldberg's famous invitation to fun in the Bronx now echoes across the country each Saturday night on CBS It's the same fine brand of comedy mixed with a tear now and then that's made Molly and her whole family Jake Sammy Rosalie and the others favorites for many years CBS invite you to hear the Goldberg's on most of these same CBS stations this Saturday and every Saturday This is Roy Rowan speaking Disaster is no respecter of persons and it can strike any time but your Red Cross never sleeps It has to be ready constantly in case of an emergency. This is your protection Keep it strong now is the time to support Red Cross for your sake Remember for every dollar you gave before This year at a quarter more if you gave Red Cross ten dollars last year this year give it twelve dollars and a half Give gladly join Red Cross This is CBS where yours truly Johnny dollar meets adventure next Tuesday night the Columbia broadcasting system


Okay, next up in our list of patterns are the structural patterns. So they deal with adapting, changing the structure of your system for specific needs. And first up we do the so-called adapter pattern. And the name comes just from, for example, the electricity plugs where you adapt it to something else. For example, you're in the U.S. and you need a different plug than in Europe. So you just put something on top, put it into the outlet. It's exactly the same here. You are implementing some kind of service. So you have a class or an interface that has certain methods that you have defined that take some kind of parameters, certain kind of data. And then you are in a situation where, for example, your client comes and says, well, we have a different interface. Instead of my method and other data, we would like to have method and data. And then instead of going in here and changing this or trying to convince the client to change it, you can introduce an adapter. That's the idea here, because in many cases it might not be possible to change either of them. For example, imagine the case where these are standards that have to be followed and you have, for example, multiple clients. So you cannot just change your code or you don't want to change your code and send different versions to different clients, but you just add different adapters. The idea is done actually quite simple. You have an adapter that implements this interface where it realizes it. So it means it has this kind of method. The client can call it. But it also has a connection to an adaptee to your service. So it has some kind of connection there. It has this service. And then what happens in the concrete implementation of this method is that you simply convert the data and the overall method format. So inside of this method, you will probably change data to other data somehow. So you do data, modify, for example, if it needs to be a list instead of an array, you do that. Other data equals modified, so you somehow convert the data and then you will actually call this method with the other data. So the adaption process is basically in the concrete implementation of this method. And this is, again, as always, open-closed. So we are not modifying our service. We're simply extending it by additional functionality, in this case, just by a conversion, basically, by an additional interface. And the other thing we have here is the single responsibility idea. So we don't want to adapt this service inside the class itself. We don't want to modify it, but basically the way it looks like to the outside should be taken over by a special adapter that just does this one thing and nothing else. The only responsibility of this adapter is to provide a specific client interface, provide compatibility, basically. So as the first structural pattern, the other ones we'll go into are actually quite similar, but we'll go to the next. So the next one is the facade pattern.