1 00:00:00,089 --> 00:00:04,440 have you ever wondered why pop music 2 00:00:02,460 --> 00:00:07,588 made in the 80s sound so different from 3 00:00:04,440 --> 00:00:10,349 pop music made today well I'm gonna show 4 00:00:07,589 --> 00:00:12,750 you why I'm also gonna show you some 5 00:00:10,349 --> 00:00:15,780 simple compositional tricks to make your 6 00:00:12,750 --> 00:00:16,360 pop music really take off the eighties 7 00:00:15,780 --> 00:00:27,299 way 8 00:00:16,360 --> 00:00:28,220 [Music] 9 00:00:27,300 --> 00:00:31,210 [Applause] 10 00:00:28,220 --> 00:00:34,440 [Music] 11 00:00:31,210 --> 00:00:37,549 [Applause] 12 00:00:34,440 --> 00:00:37,549 [Music] 13 00:00:39,630 --> 00:00:48,880 okay the basics the 80s pop music had 14 00:00:43,900 --> 00:00:51,430 lots of seventh and ninth chords and to 15 00:00:48,880 --> 00:00:54,310 really make that elegant 80s pop music 16 00:00:51,430 --> 00:00:57,100 you have to know the basics on how these 17 00:00:54,310 --> 00:00:59,680 chords work so before I show you 18 00:00:57,100 --> 00:01:01,629 examples from famous songs I'm gonna 19 00:00:59,680 --> 00:01:05,080 show you a simple C chord and how you 20 00:01:01,629 --> 00:01:07,660 can expand on that to get that seventh 21 00:01:05,080 --> 00:01:10,150 or ninth feel to the chord I'm gonna 22 00:01:07,660 --> 00:01:13,210 simplify a bit and all those who are 23 00:01:10,150 --> 00:01:16,270 deep into sheet music and theoretical 24 00:01:13,210 --> 00:01:19,869 stuff you have to excuse me but I'm 25 00:01:16,270 --> 00:01:27,330 gonna show it the simple way okay so 26 00:01:19,869 --> 00:01:32,020 here's the C chord the C eg notes and by 27 00:01:27,330 --> 00:01:35,170 just lifting the the rightmost 28 00:01:32,020 --> 00:01:37,690 finger a step at a time you can add to 29 00:01:35,170 --> 00:01:47,830 that C chord by doing something like 30 00:01:37,690 --> 00:01:53,250 this never C + c6 and c7 and the c7 is 31 00:01:47,830 --> 00:02:00,160 to the Seinfeld theme and the 32 00:01:53,250 --> 00:02:02,860 progression from C + 6 7 is used in one 33 00:02:00,160 --> 00:02:05,080 of the most famous pop ballets of the 34 00:02:02,860 --> 00:02:07,090 eighties the greatest love of all by 35 00:02:05,080 --> 00:02:07,660 Whitney Houston and that goes something 36 00:02:07,090 --> 00:02:09,580 like this 37 00:02:07,660 --> 00:02:12,130 I'm going to play the inversion of the 38 00:02:09,580 --> 00:02:13,900 court an inversion means that you place 39 00:02:12,130 --> 00:02:16,060 your fingers in a different position but 40 00:02:13,900 --> 00:02:18,760 it's still the C chord so for instance 41 00:02:16,060 --> 00:02:22,450 if I play the C with that that's the 42 00:02:18,760 --> 00:02:25,359 upper GI I can also play the G low 43 00:02:22,450 --> 00:02:26,200 instead it's the same chord but it 44 00:02:25,360 --> 00:02:28,540 sounds different 45 00:02:26,200 --> 00:02:31,450 that's called an inversion so if I play 46 00:02:28,540 --> 00:02:34,840 something like this I believe the 47 00:02:31,450 --> 00:02:35,589 children are our future give them love 48 00:02:34,840 --> 00:02:38,620 and let 49 00:02:35,590 --> 00:02:44,290 them lead the way show them all the 50 00:02:38,620 --> 00:02:50,050 beauty they possess inside give them a 51 00:02:44,290 --> 00:02:53,620 sense of pride that song utilizes the 52 00:02:50,050 --> 00:02:58,150 the plus sixth and seventh chord 53 00:02:53,620 --> 00:03:01,900 during the initial chord progression so 54 00:02:58,150 --> 00:03:05,349 we have the C plus six seven and if 55 00:03:01,900 --> 00:03:10,209 instead of playing that b-flat note 56 00:03:05,349 --> 00:03:17,380 instead played at the H you get a C 57 00:03:10,209 --> 00:03:20,620 major seventh chord c e G H and by 58 00:03:17,380 --> 00:03:29,920 adding another step and at the D you get 59 00:03:20,620 --> 00:03:31,360 the ninth and it's often simplified in 60 00:03:29,920 --> 00:03:35,980 the way that you don't play all the 61 00:03:31,360 --> 00:03:39,700 notes you just add the last three so you 62 00:03:35,980 --> 00:03:42,280 have the C major nine if you instead of 63 00:03:39,700 --> 00:03:47,500 playing this play that play the B flat 64 00:03:42,280 --> 00:03:51,700 chord you get this C 11 which which is a 65 00:03:47,500 --> 00:03:54,700 nice transition type of chord to get to 66 00:03:51,700 --> 00:03:56,828 another key or to go back from the 67 00:03:54,700 --> 00:04:00,290 circle you started when you first 68 00:03:56,829 --> 00:04:02,069 started the first chord in the track 69 00:04:00,290 --> 00:04:06,220 [Music] 70 00:04:02,069 --> 00:04:10,030 like this you go by the C 11 or the B 71 00:04:06,220 --> 00:04:11,530 flat with a c' a bass note so you have 72 00:04:10,030 --> 00:04:17,639 the the C 73 00:04:11,530 --> 00:04:20,920 [Music] 74 00:04:17,639 --> 00:04:24,250 so that's a basic start to understand 75 00:04:20,920 --> 00:04:26,710 how the the chords are built up through 76 00:04:24,250 --> 00:04:29,530 the triads of the quartet rides I mean 77 00:04:26,710 --> 00:04:32,919 by the added three steps each time for 78 00:04:29,530 --> 00:04:35,679 the expanded the type of chord and 79 00:04:32,919 --> 00:04:37,870 you're going to need this information 80 00:04:35,680 --> 00:04:39,490 this knowledge when you try to dissect 81 00:04:37,870 --> 00:04:43,180 the alias 82 00:04:39,490 --> 00:04:45,190 hits because they have lots of these 83 00:04:43,180 --> 00:04:48,490 type of courts in them and you can use 84 00:04:45,190 --> 00:04:51,340 those tricks and chord progressions in 85 00:04:48,490 --> 00:04:55,030 your synth pop music or pop music when 86 00:04:51,340 --> 00:04:58,080 you compose your tracks today so that's 87 00:04:55,030 --> 00:04:58,080 the the basics 88 00:05:02,980 --> 00:05:06,950 a trick that was 89 00:05:04,820 --> 00:05:10,340 often used in 80s pop music was the 90 00:05:06,950 --> 00:05:12,670 change of key within a chorus or as a 91 00:05:10,340 --> 00:05:16,310 transition from a verse to a chorus 92 00:05:12,670 --> 00:05:18,740 something you very seldom hear today but 93 00:05:16,310 --> 00:05:20,810 that was very much used in the hits of 94 00:05:18,740 --> 00:05:22,700 the eighties and it's something I use 95 00:05:20,810 --> 00:05:26,570 all the time in my own tracks as I will 96 00:05:22,700 --> 00:05:28,849 demonstrate in a minute and the track 97 00:05:26,570 --> 00:05:31,010 I'm going to show you that use this very 98 00:05:28,850 --> 00:05:32,900 effectively it's a very simple track 99 00:05:31,010 --> 00:05:35,750 it's called the neverending story 100 00:05:32,900 --> 00:05:39,140 the Giorgio Moroder track and the vocals 101 00:05:35,750 --> 00:05:43,360 lima all sung the song a song and if he 102 00:05:39,140 --> 00:05:45,680 if he if we stay in the C chord 103 00:05:43,360 --> 00:05:48,350 territory I'm going to show you what 104 00:05:45,680 --> 00:05:51,230 they use so effectively in the track and 105 00:05:48,350 --> 00:05:53,630 and pretty soon in the in the track as 106 00:05:51,230 --> 00:05:59,120 well because the track goes something 107 00:05:53,630 --> 00:06:01,150 like this turn around look at what you 108 00:05:59,120 --> 00:06:01,150 see 109 00:06:02,729 --> 00:06:10,390 eating in the face the mirror of your 110 00:06:07,839 --> 00:06:11,639 dreams 111 00:06:10,390 --> 00:06:17,969 [Music] 112 00:06:11,639 --> 00:06:25,020 James may believe I'm everywhere given 113 00:06:17,969 --> 00:06:34,639 in the lines Britain on the the pages is 114 00:06:25,020 --> 00:06:37,438 the answer to a never ending story and 115 00:06:34,639 --> 00:06:38,249 what they did there was exactly what I 116 00:06:37,439 --> 00:06:47,490 told you 117 00:06:38,249 --> 00:06:58,050 from there me Ravi dreams may believe so 118 00:06:47,490 --> 00:07:05,819 they go from from gene to the e-flat may 119 00:06:58,050 --> 00:07:11,240 believe I'm everywhere written on the 120 00:07:05,819 --> 00:07:16,290 pages is the answer to a never ending 121 00:07:11,240 --> 00:07:20,850 and they go back to the C story 122 00:07:16,290 --> 00:07:24,580 [Music] 123 00:07:20,850 --> 00:07:29,490 and that's a very effective way to lift 124 00:07:24,580 --> 00:07:29,490 the whole track because when you go from 125 00:07:30,300 --> 00:07:46,030 [Music] 126 00:07:32,310 --> 00:07:49,510 G by the F base you lift the whole track 127 00:07:46,030 --> 00:07:53,530 and that's a very very nice way of doing 128 00:07:49,510 --> 00:07:59,230 a hit song and that chord progression 129 00:07:53,530 --> 00:08:01,630 going from a major chord down through 130 00:07:59,230 --> 00:08:04,690 the base register to another key with 131 00:08:01,630 --> 00:08:07,960 also a major chord makes everything lift 132 00:08:04,690 --> 00:08:11,350 up and you feel a positive vibe you 133 00:08:07,960 --> 00:08:14,049 don't get any other way and I have a 134 00:08:11,350 --> 00:08:17,830 track of my own call of my own called 135 00:08:14,050 --> 00:08:20,800 London miss you at Christmas which uses 136 00:08:17,830 --> 00:08:22,510 approximately the same idea and let me 137 00:08:20,800 --> 00:08:22,920 show you a little snippet of it right 138 00:08:22,510 --> 00:08:40,399 here 139 00:08:22,920 --> 00:08:40,399 [Music] 140 00:08:49,710 --> 00:08:52,839 [Music] 141 00:08:57,890 --> 00:09:03,130 [Music] 142 00:09:06,220 --> 00:09:15,769 and that's the first trick and a way of 143 00:09:13,790 --> 00:09:21,319 doing things the eighties way that that 144 00:09:15,769 --> 00:09:23,930 you very rarely hear these days another 145 00:09:21,320 --> 00:09:27,949 famous track from the 80s that uses the 146 00:09:23,930 --> 00:09:31,790 same idea albeit in a kind of a 147 00:09:27,949 --> 00:09:32,120 different way by going up instead of 148 00:09:31,790 --> 00:09:35,800 down 149 00:09:32,120 --> 00:09:40,130 to another key is the Spandau Ballet 150 00:09:35,800 --> 00:09:42,620 track called true and I can demonstrate 151 00:09:40,130 --> 00:09:45,649 this by playing also something from the 152 00:09:42,620 --> 00:09:48,470 intro because true is a very very 153 00:09:45,649 --> 00:09:51,920 elegant composition and uses lots of 154 00:09:48,470 --> 00:09:56,660 minor ninths and major ninth chords and 155 00:09:51,920 --> 00:09:59,839 also a lot of sevens and it's one of the 156 00:09:56,660 --> 00:10:04,040 most kind of sophisticated elegant 157 00:09:59,839 --> 00:10:06,139 tracks of the eighties in my view and it 158 00:10:04,040 --> 00:10:11,810 goes something like this you you know 159 00:10:06,139 --> 00:10:29,380 the the basic track I'm sure but to go 160 00:10:11,810 --> 00:10:35,779 something like this the G E minor ninth 161 00:10:29,380 --> 00:10:40,050 C major ninth H minor seven so that's 162 00:10:35,779 --> 00:10:42,130 the intro and it goes further 163 00:10:40,050 --> 00:10:53,920 [Music] 164 00:10:42,130 --> 00:11:00,910 hi I know this much is true I I know 165 00:10:53,920 --> 00:11:07,029 this much is true that's a minor ninth 166 00:11:00,910 --> 00:11:12,399 true and it that's the F major ninth to 167 00:11:07,029 --> 00:11:16,649 really end the sequence and get ready 168 00:11:12,399 --> 00:11:22,240 for the diverse which goes back to the G 169 00:11:16,649 --> 00:11:28,000 so true finally how it seems always in 170 00:11:22,240 --> 00:11:30,040 line but never in line for dreams and 171 00:11:28,000 --> 00:11:31,720 there you have it instead of going down 172 00:11:30,040 --> 00:11:34,779 like the year and never ending story 173 00:11:31,720 --> 00:11:40,740 track it did here we go up from the sea 174 00:11:34,779 --> 00:11:46,120 instead so true funny how it seems 175 00:11:40,740 --> 00:11:48,540 always in time but never in line for 176 00:11:46,120 --> 00:11:48,540 dreams 177 00:11:48,910 --> 00:11:56,610 [Music] 178 00:11:56,960 --> 00:12:07,590 and back again that's a very very nice 179 00:12:02,510 --> 00:12:13,920 chord progression but now I've come back 180 00:12:07,590 --> 00:12:17,840 and gay why do I find hard to ride the 181 00:12:13,920 --> 00:12:21,780 next line I want the truth to be known 182 00:12:17,840 --> 00:12:24,800 and they end the truck again the chord F 183 00:12:21,780 --> 00:12:24,800 major 9th 184 00:12:26,550 --> 00:12:45,750 [Music] 185 00:12:31,260 --> 00:12:55,640 this much is true G E minor 9th C major 186 00:12:45,750 --> 00:13:00,120 9th each -7 a minor 9th an F major 9th 187 00:12:55,640 --> 00:13:04,830 all based upon the the system I showed 188 00:13:00,120 --> 00:13:06,540 you earlier for the C so true is one of 189 00:13:04,830 --> 00:13:08,190 the the tracks that uses the same 190 00:13:06,540 --> 00:13:11,790 principle going from one key to another 191 00:13:08,190 --> 00:13:15,330 within the same verse like the 192 00:13:11,790 --> 00:13:17,339 neverending story so that's the the one 193 00:13:15,330 --> 00:13:21,870 trick I wanted to show you how to change 194 00:13:17,340 --> 00:13:24,630 key within the the same section of the 195 00:13:21,870 --> 00:13:27,210 song if you look up the track poison by 196 00:13:24,630 --> 00:13:31,260 Alice Cooper I think that holds the hold 197 00:13:27,210 --> 00:13:33,930 the record for most key changes within a 198 00:13:31,260 --> 00:13:36,689 chorus just look it up and pay attention 199 00:13:33,930 --> 00:13:40,290 to the changes in course and you'll hear 200 00:13:36,690 --> 00:13:43,730 it changes key all the time in the same 201 00:13:40,290 --> 00:13:48,620 chorus poison by Alice Cooper 202 00:13:43,730 --> 00:13:52,590 okay another major part of 80s pop music 203 00:13:48,620 --> 00:13:56,010 chords is the major 7th chord 204 00:13:52,590 --> 00:13:58,080 along with the minor 7th chord and to 205 00:13:56,010 --> 00:14:01,439 illustrate what I mean I'm going to show 206 00:13:58,080 --> 00:14:05,640 you another hit song of the 80s called 207 00:14:01,440 --> 00:14:07,100 if you leave me now by Chicago song by 208 00:14:05,640 --> 00:14:11,130 Peter Cetera 209 00:14:07,100 --> 00:14:14,700 and that uses lots of other tricks as 210 00:14:11,130 --> 00:14:17,010 well that really demonstrates a way of 211 00:14:14,700 --> 00:14:20,730 thinking that you can really use when 212 00:14:17,010 --> 00:14:23,220 you make your own tracks and to play 213 00:14:20,730 --> 00:14:26,670 something from it and guide you through 214 00:14:23,220 --> 00:14:31,410 what's going on it's cause it starts 215 00:14:26,670 --> 00:14:34,889 with a D major 7th the d f-- the sharp 216 00:14:31,410 --> 00:14:38,988 is like this it's the D chord 217 00:14:34,889 --> 00:14:42,480 you can play it like this is dead so by 218 00:14:38,989 --> 00:14:44,939 if you recall them the intro of this 219 00:14:42,480 --> 00:14:49,350 tutorial well show you their plus 6 & 7 220 00:14:44,939 --> 00:14:53,910 you can show and play the D chord and 221 00:14:49,350 --> 00:14:57,869 just lower the left note one half step 222 00:14:53,910 --> 00:15:00,660 and you get a major 7th chord and if I 223 00:14:57,869 --> 00:15:05,419 play another inversion it sounds 224 00:15:00,660 --> 00:15:11,050 something like this if you leave me now 225 00:15:05,419 --> 00:15:14,299 you'll take away the biggest part of me 226 00:15:11,050 --> 00:15:20,819 [Music] 227 00:15:14,299 --> 00:15:24,769 please don't go so you have the D major 228 00:15:20,819 --> 00:15:24,769 7 if you leave me now 229 00:15:26,589 --> 00:15:32,440 you'll take away the biggest part of me 230 00:15:34,420 --> 00:15:49,939 baby please don't go H minor 7 the e 7 a 231 00:15:45,430 --> 00:15:54,800 D but the overall feeling of the verse 232 00:15:49,939 --> 00:15:58,310 is the wonderful melancholic my major 233 00:15:54,800 --> 00:16:05,209 7th chord which you can use for 234 00:15:58,310 --> 00:16:07,849 everything and with the D major 7 you 235 00:16:05,209 --> 00:16:14,029 really get a really melancholic looking 236 00:16:07,850 --> 00:16:15,560 back type of feel to a song so going 237 00:16:14,029 --> 00:16:17,889 further in the track I'm going to show 238 00:16:15,560 --> 00:16:20,479 you some other tricks that's typical for 239 00:16:17,889 --> 00:16:22,310 David Foster and Peter Cetera and 240 00:16:20,480 --> 00:16:28,129 Chicago of the time but David Foster use 241 00:16:22,310 --> 00:16:34,069 this all the time love like ours Allah 242 00:16:28,129 --> 00:16:36,130 that's hard fine and here they use many 243 00:16:34,069 --> 00:16:40,069 tricks at one time because that line 244 00:16:36,130 --> 00:16:43,830 starts with a g9 that's really a D minor 245 00:16:40,069 --> 00:16:48,319 a chord with the gene root base 246 00:16:43,830 --> 00:16:56,070 [Music] 247 00:16:48,320 --> 00:16:59,130 so when they play the g9 and they go 248 00:16:56,070 --> 00:17:07,199 through a G minor son live and the seven 249 00:16:59,130 --> 00:17:11,579 as well and they end with a Colleen G 250 00:17:07,199 --> 00:17:13,980 and that's kind of genius sophisticated 251 00:17:11,579 --> 00:17:16,709 songwriting that you adhere to say you 252 00:17:13,980 --> 00:17:18,510 never hear something like that today but 253 00:17:16,709 --> 00:17:20,520 you can really use like you you utilize 254 00:17:18,510 --> 00:17:26,129 this in your own tracks so by going 255 00:17:20,520 --> 00:17:28,470 through in itself it doesn't make much 256 00:17:26,130 --> 00:17:30,720 sense but in the context of the melody 257 00:17:28,470 --> 00:17:34,290 and the the melodic line that they wrote 258 00:17:30,720 --> 00:17:39,330 it makes perfect sense I love like ours 259 00:17:34,290 --> 00:17:45,710 a level that's hard to find 260 00:17:39,330 --> 00:17:55,199 back to h17 how could we let it slip 261 00:17:45,710 --> 00:18:07,070 and and did you see what happened there 262 00:17:55,200 --> 00:18:12,840 and they have to go back to the g9 here 263 00:18:07,070 --> 00:18:15,320 how could we let it slip away and they 264 00:18:12,840 --> 00:18:22,280 do this by going through the age 265 00:18:15,320 --> 00:18:25,520 suspended for with a c-sharp and the F 266 00:18:22,280 --> 00:18:25,520 sharp 7 267 00:18:25,660 --> 00:18:29,509 [Music] 268 00:18:33,110 --> 00:18:39,819 [Music] 269 00:18:40,470 --> 00:18:54,520 when tomorrow comes we'll both regret 270 00:18:46,590 --> 00:19:00,129 the things we said to day things we said 271 00:18:54,520 --> 00:19:09,250 today at the E minor F sharp minor and 272 00:19:00,130 --> 00:19:13,090 the G minor say go back to the major 273 00:19:09,250 --> 00:19:18,430 seven so they use a lot of cool stuff in 274 00:19:13,090 --> 00:19:20,889 this track okay so moving on we have yet 275 00:19:18,430 --> 00:19:26,410 another trick that was utilized a lot in 276 00:19:20,890 --> 00:19:32,110 the 80s and that's the way of changing 277 00:19:26,410 --> 00:19:37,060 chords but not changing the bass that's 278 00:19:32,110 --> 00:19:39,459 somewhat used to today as well but when 279 00:19:37,060 --> 00:19:42,520 using those major sevens and minor 280 00:19:39,460 --> 00:19:45,610 seventh chords without changing the bass 281 00:19:42,520 --> 00:19:50,800 you get a very special Aries feeling 282 00:19:45,610 --> 00:19:53,020 about a lot of sections and there was 283 00:19:50,800 --> 00:19:55,690 one track that comes to mind that was 284 00:19:53,020 --> 00:19:58,840 big in the 80s that utilizes this trick 285 00:19:55,690 --> 00:20:03,520 Rick Astley had this track and never 286 00:19:58,840 --> 00:20:06,780 going to give you up and we're no 287 00:20:03,520 --> 00:20:06,780 strangers to the 288 00:20:07,299 --> 00:20:18,230 you know the rules and so do IA full 289 00:20:13,519 --> 00:20:23,350 commitments what I'm thinking about you 290 00:20:18,230 --> 00:20:26,320 wouldn't get this from any other guy I 291 00:20:23,350 --> 00:20:33,649 just wanna tell you how I'm feeling 292 00:20:26,320 --> 00:20:40,250 gotta make you understand never gonna 293 00:20:33,649 --> 00:20:41,899 give you up never gonna let you down so 294 00:20:40,250 --> 00:20:46,600 in the start of that track you hear 295 00:20:41,899 --> 00:20:46,600 those strangers 296 00:20:50,670 --> 00:21:03,589 [Music] 297 00:21:06,120 --> 00:21:19,979 [Music] 298 00:21:16,140 --> 00:21:23,409 so that's a very effective way of 299 00:21:19,980 --> 00:21:28,330 driving the track along because you get 300 00:21:23,409 --> 00:21:31,419 our special kind of Drive feeling in my 301 00:21:28,330 --> 00:21:34,080 view to to keeping the base but that the 302 00:21:31,419 --> 00:21:37,090 chords changed Bananarama was another 303 00:21:34,080 --> 00:21:40,720 group also produced by stock akin what 304 00:21:37,090 --> 00:21:44,110 man that used a lot of those moves in 305 00:21:40,720 --> 00:21:46,659 their tracks by keeping the base and 306 00:21:44,110 --> 00:21:49,889 changing the chords so that's another 307 00:21:46,659 --> 00:21:49,890 cool trick for you 308 00:21:51,550 --> 00:21:58,658 and I have a track called 309 00:21:53,860 --> 00:22:01,178 those days which has a very rapid chord 310 00:21:58,659 --> 00:22:03,460 progression in the bridge you might say 311 00:22:01,179 --> 00:22:05,409 that the bridge is kind of the cars of 312 00:22:03,460 --> 00:22:09,100 the child because only here at once 313 00:22:05,409 --> 00:22:11,980 but those recorded changes also changes 314 00:22:09,100 --> 00:22:13,779 key at the rapid pace and let's see 315 00:22:11,980 --> 00:22:16,710 listen to the traffic on Sierra that 316 00:22:13,779 --> 00:22:16,710 part of jaikon show 317 00:22:23,700 --> 00:22:33,430 [Music] 318 00:22:43,040 --> 00:22:53,309 [Music] 319 00:22:54,029 --> 00:22:59,860 so as you could hear there were a lot of 320 00:22:56,710 --> 00:23:18,100 poor changes there and it goes something 321 00:22:59,860 --> 00:23:23,019 like this do you remember when I sent 322 00:23:18,100 --> 00:23:30,428 you mail invitation for the Interrail it 323 00:23:23,019 --> 00:23:35,190 was a wild way to live so we went on 324 00:23:30,429 --> 00:23:44,769 down the road taking off not only robes 325 00:23:35,190 --> 00:23:47,590 it was our way to give at this point my 326 00:23:44,769 --> 00:23:49,840 camera just turned itself off but I hope 327 00:23:47,590 --> 00:23:51,610 you enjoyed the tutorial and I hope to 328 00:23:49,840 --> 00:23:54,360 see you again soon don't forget to 329 00:23:51,610 --> 00:23:54,360 subscribe thanks 330 00:24:01,779 --> 00:24:03,840 you