 Right, moving on to the next really, really beautiful chord. This is what we call in music as a 7 flat 9. So let's first look at how you build a dominant 7th chord. I'm going to do this on A. All through this lesson, I'm going to use different roots. I don't believe that C should always be considered. Also from my perspective, I think the key really matters, the key really inspires your fingers to compose music in a specific way and very differently. Like how someone like me would compose music on the F key would be very different than how you would or how I would approach the same thing on maybe a E key or an E flat key. So keys are very different. So I'll be constantly looking at different chords to explain each of these extensions. So anyway, that's your A major. So this is a dominant 7th chord. How do we build a dominant major plus? That's your flat 7. So this is a standard chord which kind of resolves to the tonic. It's a very common sound used by a lot of... kind of gives you a connecting pathway to pretty much any tonic. We've done a lot of videos on dominant resolution and even secondary dominance which you should check out in our YouTube channel. So this can now be extended by adding the flat 9. This is what I really like. That's how it sounds. So it's essentially a very diminished kind of sound as you'll hear. There's a diminished chord in there. But it's a... It's also a dominant chord which is A 7th. So you could play A the dominant 7th. What is the dominant 7th again? The flat 7th. This will be the major 7th. Bring that down. So that's your dominant 7th. Then you could voice 3rd, 5th, 7th again if you'd like. And now either on the top end you could add a B flat that becomes a flat 9 or at the bottom end you could add the B flat. And that obviously becomes the flat 9. How are we approaching B flat as the flat 9? If you take any kind of interval like 9, 11 or 13, these are intervals which are beyond the octave. So 9 is sort of like a 2, the 2nd. But now we are mentioning it as 9 flat. So that'll be the 2nd degree which is B going down by 1 that'll make it a B flat. And now if you add that dominant beautiful sound. So this is how I played. You could also invert it. You could also look at it as diminished 7th chords in your right hand with an A bass. Look at all those shapes with that. So it is a dominant chord by nature. So this chord really loves to resolve back to the home minor. So A, D minor. It could perhaps even resolve to D major but I prefer the resolution to the minor. At least what I use in my stuff, very much part of the harmonic minor scale if you use it that way as a dominant chord. It's also great to compose melodies just using the A7 flat 9 and resolve like and just keep looping that. And another thing I like to do is to suspend that 9th chord or suspend the flat 9. So this is what you could call as an A7 flat 9 with a suspended. So it's A7 sus 4 flat 9. It's a big name for a chord but it's quite easy to form. You still have an A7 here. Then you have build the remaining notes of suspended 4 which is okay. And then add your flat 9 for that real spice. It's almost a scale on its own right. So it's a very sort of very minor, very it could be a painful sound. It could be melancholic, could be even nostalgic in a way. And you can follow it up with that chord I taught you earlier which is that minor major 7th. Okay guys so that was about the 7 flat 9 chord which is another one of my favorite chords of all time. And I could spice this up further with that suspended flavor. Let's move on.