Ok, I've talked,
in the analysis section about the five
seven of other chords in the key.
The five seven, you know, already,
is the five seven of one to
one that occurs in any key.
Remember we're in G still so.
To G major seven.
We know that one.
And I've alleged,
I've thrown the idea out there.
That actually every chord in,
in the diatonic scale pattern,
has a five seven chord.
What does that mean?
Well if we only ever played the diatonic
chords, it would sound boring.
And the thing that makes harmony
interesting is by altering and
throwing in other chords, and
actually sometimes borrowing chords.
Now what does that mean?
When I say that every other,
chord in the chord scale can
have its own five seven chord,
what we're in effect doing,
is borrowing the dominant chord from
the key that, that chord comes from.
So, see if you can follow my logic.
A minor seven is the two minor seven chord
in the key of G, right, and
I wanna have a five seven,
a dominant leading to that chord.
And and that's a cool thing to do and,
and it'll be used a lot in the songs
that we're gonna be playing.
I'm gonna borrow its dominant chord from
its own key, as though it were A major.
So if I'm going to borrow a five
seven chord from the key of A major
which in effect I'm doing,
I have to count up to that.
There's the five.
It's E in the key of A major,.
that's gonna become the five seven of two.
It's not just the five seven chord,
because the five seven chord in the key
we're in, which is G,
is always, always gonna be D.
But this is five seven of two.
And, the way we write that when
we're analyzing, just so you know,
there might be different ways of doing it,
but the way that I was taught is V,
like the Roman numeral V, slash, and
the Roman numeral II,
the slash meaning of, five of two.
Five, you can write it seven too.
Five, seven of slash mark, two.
Right, and it sounds like this.
So in G.
it's not an unfamiliar, unfamiliar sound.
I'm sure you've heard songs.
A lot of songs that have that progression.
So, lets give it a try, lets,
lets try playing on it.
Again, I'm gonna go back to mentally
thinking about when I get to that E seven,
I wanna accent the chords in the notes
that are different about that than
they would be in the key of G.
And the main different note in it is that
it's got a G sharp instead of a G natural,
because that's the note we're
borrowing from the key of
A major that we're borrowing it from,
So the natural apidual would be.
If it was a straight 6 cord it would be.
6 minor 7.
But now E, which was the 6 cord in the QG,
now it's the 5 7 of the two,
so it's E seven.
Instead of E minor seven, natural way the
sixth chord appears, it's a dominant tone.
And sometimes you'll see it analyzed as,
instead of five seven of two,
you'll just see, six dominant seven.
You can call it that, but, it's not really
functioning as a six dominant seven chord.
It's functioning, to cadence to the two.
it has a real reason for being.
So we give it a tone name.
So I'm gonna try to
emphasize that G sharp.
Either as part of an arpeggio.
See how that led me to the A?
Or, as a scale note.
So the only note I'm changing from the G
scale that we've been
using is the G sharp,
we're changing the G to the G sharp for
that moment that we're on this chord.
So, very slowly I'll play through it so
one five seven or two,
two five one would be
Can you hear that progression?
Spelling out the chords,
and just adding that one G sharp.
Puts more tension, more lean going
towards the end of the progression.
So let's see how I do.
Take a ride on it yourself and,
and see what you come with.
Feel free to send me some of your,
videos so I can see how it's going.
It's a tricky concept but
we'll keep working on it.