This lesson is gonna focus on dominant
chords, dominant 7th chords, to be exact.
Now, you may be wondering why is he
not teaching me dominant 7th triads or
dominant triads, I should say.
Well, because I already did.
Dominant triads, or the first three notes,
are the same as major triads.
So, so it's a natural root first,
a natural third,
a natural fifth degree of the scale.
So Just like a major one a major triad.
We've already covered that.
If you want to get super into it and
play those again you can consider
the major triads to be the same as your
dominant triads, or the triads that
go along with dominant chords.
A dominant seventh chord is a little
bit different than a major Chord.
It's a little bit different
than a minor chord.
It has a natural root, a natural third,
natural fifth, but a flat seventh.
So, a dominate chord
scale is actually based
on one of the modes, based on the fifth
mode, or the mixolydian mode.
So if you think of a c mixolydian scale or
a C dominant chord scale,
it's based on the F major chord.
Did you get that?
So, again it's the fifth scale or
the fifth degree of any major scale.
So, that's why when you
see the key signature
they see dominant chord
You're gonna see one flat,
it's the same as its parent,
as its mother scale so to speak.
It's a major home base,
so in this case a C,
mixolydian or C,
dominant chord scale would be based on F.
So we've already covered our triad.
So, we're gonna play for you now,
the dominant seven chord, arpeggios.
So you've got your PDFs there.
And again, don't panic that
the dominant triad PDF is not there.
It's not there intentionally because
again it's the same as a major.
let's play these together shall we?
And do I see anything that
needs to be addressed?
Not a thing, how simple are these?
So here we go.
Again to reiterate, if you're playing a E
flat instrument, alto or baritone, you're
gonna start on the first bar if you're
playing along with me on these guys.
And if you're playing tenor or soprano,
you're playing a B flat instrument so
you're gonna start in the key
of F on the The second bar,
the second chord, F dominant, F seven.
And by doing so, we can play together in
unison and it'll all sound hunky dory.
Okay, I'll count us off and away we go.
One and two and three and four.
So dominant chords, you're gonna see them,
the main blues chord is a seventh chord.
So every blues I don't wanna say
every Blues, but typical Blues.
99% of Blues core progressions you're
gonna come across are gonna be based
on dominant chords, so
that's important too.
We're also, you probably have
heard the term 2-5-1 progressions.
So the 5 chord is always dominant.
We'll explain that a little bit
more in detail down the road.
But, so if I say that the dominant
chord is a really important chord.
I've said before that between minor
chords, and major chords, and
That makes up a good I may have said 75%,
I may even stretch it to
80% of all the music that you'll ever see
and come across and want to play over.
So by learning these three
chord types here Your minor,
your major, and your dominant.
You're really covering your
bases quite thoroughly.
And speaking of covering you bases
thoroughly, making sure you're doing
the way I've laid it out,
which is to play them in every key.
So I can't stress that for you enough.
I wish somebody had stressed that to me
more when I was coming up as a player,
because I got way into my Favorite key is,
you know on saxophone we love D,
we love G, we love C.
We love F and B flat.
But the more involved keys,
F sharp, C sharp, B.
Those keys are less common,
and Less commonly played but
still they are played and so, you know,
if we are less familiar with those keys,
when it comes time to
play in those keys and
invariably you will,
you know you wanna be prepared.
So, this is good.
Just make sure you play all these
things in all these different keys, and
you're gonna rock it.
Okay so let's do it again.
Okay, let's play it together.
I'll count it off and I'm gonna do
it a touch slower this time just so
we can really really nail it together.
Okay here we go.
Ready again, alto, baritone,
start on the first bar, tenor and
soprano start on the second bar
that way we can play in unison.
Here we go.
One, and two, and three, and go.
Those are our dominant
seventh chord arpeggios.
So rock those.
Make sure you practice those.
We're not using a metronome right now,
but I encourage you to use your
metronome to practice these.
And if you have to start slower than
the way we're playing them now,
by all means do so.
You can't practice anything too slow.
You can certainly practice things
too fast, but never too slow.
Because you're always practicing for
Repeat that after me,
practice for control.
Okay, cool, so have at it,
have fun, we'll see you on the next one.