Okay, we've come up finally,
to the end of this whole bunch of
theory that I've been throwing at you,
thanks for hanging in there with me,
it's, it's important stuff.
I'm really just giving names to chords
that you're gonna hear all the time,
when you play standard songs.
Don't be scared by all the theory,
it's really not scary,it's just
the concept of knowing when you see
a chord like a dominant seventh chord
that's outside of the key you're in.
Now, you'll have a better
idea of why it's there.
What it's function is?
That's what we really wanna know.
What's, what's the thing
that's making that have pull,
or magnetism, or move in a certain way.
That are linear soloing, and
our solo in general is gonna exemplify,
that's gonna point out, that's gonna
make it rich, and cool sounding.
And get some of that
chromaticism that we want that,
that creates the cool sound
in jazz improvisation.
So, don't be thrown by it.
It's just names of common chords
that you see all the time.
And when we see them in songs now, you'll
say, that's what Chuck was talking about.
[LAUGH] So, last one.
This is the, this is gonna be
targeting our three chord.
And so, we're gonna do the V 7 of III
again, going back to that concept.
The dominant seventh
chord of the three chord.
This is probably, the least common but
it exists, and it does get used.
And [NOISE] we need to talk about it.
So, again let's go over
this scale in chords.
Up to, we'll,
until we get to the three chord.
[SOUND] The one is the major seventh.
[SOUND] Two is the minor seventh.
[SOUND] And there we are right away,
the three minor seventh.
So, B minor seventh, that's the target.
That's, that's what we're gonna
have a dominant seventh lead us to.
So, we need to, again,
go to the concept of borrowing a dominant
seventh from [NOISE] it's own key.
So, as though we were in the key
of B major, let's count up.
[SOUND] Okay, one, two, three, four, five,
in the key of B takes us to F sharp.
So, we need a dominant
seventh chord on an F sharp.
In order to have a V 7 of III.
It's still tricky concept but remember,
we wanna have a magnet chord pull
us to a three chord in of G.
[SOUND] And that magnet chord
is to the V 7 of that chord.
This one is the most kind
of outside of the key of
all these dominant relationships
that we've talked about.
You know, the V 7 of II was the six
[SOUND] changed to a dominant.
The V 7 of V was the two changed to
a dominant, et cetera, et cetera.
Each one was just changing one note.
This one changes the character of
the chord from its natural thing,
which F sharp in the key of G is naturally
[SOUND] a minor seventh flat five chord.
This is gonna change into a dominant,
so we change more than one note.
[NOISE] In, on the positive side that
means there's gonna be more juicy notes to
You know, a little more stuff to take,
go outside the key, and
have a little fun with.
So, go over the concept one more time.
[SOUND] Up to the three
chord [SOUND] B minor.
Find its borrowed dominant
chord from its own key.
[SOUND] F sharp.
F sharp normally, in the key of G
is a minor seventh flat five.
[NOISE] We need the dominant seventh.
So, we need to make it a not flat five.
[SOUND] A regular, [SOUND] so
we move the flat five.
[SOUND] Let's do it down here.
That flat five is the in
this position is the C.
[SOUND] Got to make it a C sharp.
And then, [SOUND] the minor seventh
flat five is a minor seventh chord,
[SOUND] so we need to make its third,
which in this case is A,
make it an A sharp.
Okay, so, [SOUND] minor seventh flat five,
move [SOUND] the fifth up,
move [SOUND] the third up.
[SOUND] You got an F sharp chord.
So, it's quite a bit different
from it's natural tendency to be
a minor seventh flat five chord.
Okay, so, one more time.
[SOUND] B minor.
And we want the, the fi, the five of that,
the dominant of that [SOUND] F sharp.
Take it from [SOUND] minor
seventh flat five, and
turn it into a [SOUND] dominant seventh.
It is a little confusing,
But basically, I can say,
the best way to remember it, is just that
the seventh chord becomes
a dominant chord.
You don't have to think
too much about you know,
how you're changing the minor seventh
flat five to the dominant seventh.
Just the fact,
that it is a dominant seventh.
[SOUND] F sharp seventh to B minor.
let's hear what it sounds like in context.
[SOUND] Let's go back to G major.
Get that tonality in our head.
It's just down a half step to
dominate seventh chord.
It's not that crazy, all right?
Pretty common sound.
Now, this is a sound
this V 7 of III that doesn't always
go to its natural conclusion.
Doesn't always go to the three chord.
It's used quite a bit as a trick cadence.
Like it's, you play it, and you think
you're gonna go to the three chord.
And then it goes somewhere else.
In the rock world,
there's a song called Peg by Steely Dan
that has [SOUND]
[SOUND] [MUSIC] that,
that first chord is down a half step.
And then it goes somewhere [SOUND] else.
It goes to [SOUND] another,
it actually modulates.
That's an example of that.
But in in song that actually does use it
there's a standard song called
My One and Only Love.
Very famous song, and when,
when it goes to the bridge
it goes one major seventh,
[SOUND] V 7 of thir, of III.
then the bridge starts on the three chord.
It's a beautiful song.
So, you can check out, and
see if you can find your own examples,
feel free to send them in.
For now, let's just play through
a progression that I'm gonna make up,
that utilizes that progression.
So, [SOUND] one major seventh.
[SOUND] V 7 of III.
the seven dominant seventh, all right?
[SOUND] Three minor seventh.
[SOUND] Six minor seventh.
[SOUND] Two, [SOUND] five, [SOUND] one.
So, you see, our progression is
getting [LAUGH] a little longer.
Take your guitar,
play along with me on that a couple times.
a play along.