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Fiddle Lessons: 7ths Chords

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So we're talking about sevenths.
Seventh chords, which are a special class
of chords.
The seventh is part of that, Mixolydian
That's where we have that,
that seventh degree of scale is lowered so
that we get this very.
Interesting kind of mean sounding note.
The sound that makes us want to feel
bluesy, and
it also has another really important role,
a huge role, in music.
I just want to talk about, the the first
thing because it's the simplest and that,
it is really so common in, in bluesy, in
you want, kind of a bluesy feeling.
You're gonna play that seventh's chord and
so on.
It's a really dynamic sound.
It's a sound that with a, full of emotion
and tension.
And the great thing about this chord is
that it also
in the other category it's a huge part of
the five chord.
Any five chord.
It's if you add the seventh to any five
then you have this very strong feeling of
wanting to go back to the one.
Like if if, if we played a D, a D chord.
It kinda, it sits there.
You could go.
You could go back to just about
any chord from D.
Lot of different choices.
But if you put a seventh on there, if you
add the seventh.
add this extra flavor that makes the D
want to resolve,
another new word, that you have this
feeling of tension and
unresolved thing that makes it want to go
back to the G chord.
again, this a chord, this is a motion.
A harmonic motion, a chord motion that you
hear again and again and again and again.
And John Hardy.
We have that great section at the end of
John Hardy,
that if you're in G, if we play John Hardy
in G.
It goes, and goes, and
goes, and you have this long section of
D7, D7, D7, D7, D7, D7.
Until finally, back to the one back to the
G and everybody's happen.
And of course, that seventh course where
everybody plays all their hot licks
in order to get everybody excited and
screaming when we come back to the end of
the, of the cycle.
So if we take any five chord and add the
sevenths, we have this extra,
super-charged kind of quality, that makes
it wanna go back to the one.
So we have this, this thing where it's
like if we had a A7.
The A7 wants to resolve to D.
If we have D7.
It wants to resolve to G.
If we have G7.
It wants to resolve to C.
And so on, and so on, and so on.
Resolving to F.
And we can go.
Around a circle, where you just, this this
circle of,
this dominant circle.
This, seventh chords are also called
dominant chords,
and it's because it's the sort of
dominating tensions,
this thing it, it's gonna, grabs you by
the neck at 7th and
makes you go okay I have to go to the
chord of 4th 08 now.
Which is what happens.
You can go around the whole circle through
all the keys and
cover every key with this circle of
Circle the dominant circle, or the
dominant cycle.
And this is a,
kind of like one of the central secrets,
even though it's not a secret.
But, one of the keys to the keys, musical
It's a key to the musical kingdom of
knowing how to get through chords.
And so it's hugely important and very
We can go around that cycle, get to every
Right, G7.
To C, C7.
To F, F7.
To B flat.
B flat seven
To E flat and so forth so forth,
go into the flat keys and then come out
the other side and
then finally winding up back at G, at our
home bass, and
if we think, go around the site and we
we could like draw a picture of, or you
could download a pdf.
It would be better if you did it yourself
but draw a picture of a circle
with like a clock, with 12,
12 little dots on it and then put a cord
name or a key name at every dot.
You, you'll eventually come around and 12
to back to the top.
So if we go like G m C.
B flat
E flat, A flat.
D flat.
G Flat.
Because G flat is also F sharp.
G flat, F sharp, going to B
To E, A.
And that is sort of the,
the magic circle of music.
It's great to know because s, every tune
that you know has chords is likely
to have this, a little bit of this motion
in there, this resolving motion.
D7 goes to G.
C7 goes to F, E7 goes to A.
So this is just a very useful
tool to know just to be able to instantly
know, okay yeah, right.
D7 to G.
A7 to D.
E7 to A.
Just be able to.
Cycle through that circle of fifths,
circle of fourths,
depending on which way you're going.
All right the dominant cycle and if we
look at this.
If we play it on our instrument,
you'll notice that it's a very nice little
geometric things that happen.
Especially if we get cross, straight
across the strings.
A, D.
Right, we were talking about fourths,
fourths double stops.
We make those fourths double stops.
Spells it right out.
And then of course we can always go down.
All right,
we go that way, it's also a fourth way but
we are actually moving a fifth downward,
so there's some trickiness to this.
If we go up, it's a fourth, if we go down,
it's a fifth, but
it's still the same motion, you know.
So that's kind of an interesting that's
why sometimes you hear somebody talking
about the cycle of fifths and they really
mean, mean the cycle of fourths.
Well which is it?
Is it up or down or it's the same thing,
it's just whether you're going physically
down or up in pitch.
So, make that circle, make that circle,
you can use your instrument, start in G,
go up a fourth,
another fourth, another fourth, another
Can you go up another fourth?
Yes, you can.
All right.
So then you're going down a fifth.
But they're the same notes.
You can go up the fourth is the same as
going down the fifth.
That's probably the trickiest thing and
one thing that's gonna be a little
confusing at first.
But the fact is you can get this and you