 Okay, so now we want to relate some of this stuff we did with the major scale to the jazz chord changes that you're going to be looking at in the tunes you're learning. For instance, the first chord change was a B-flat 7 chord. That's that dominant 7, and you might have noticed when you were playing your major scales that they didn't include a dominant 7th. They included a regular major 7th that we find in major scales. So now what we need to do is to work these scales around without the major 7th degree, we're going to use the dominant 7th degree, so everything's the same except the 7th degree of the scale. Let's go back to B-flat and learn this pattern. And incidentally, in your theory portion in this class, you're going to learn that this is the Mixolydian feel. Let's think about it as sort of more a dominant 7th feel for our terms, and you'll catch that term Mixolydian. That's the same thing, another way of saying it. So here we go. So first degree, second, third, fourth, fifth, sixth. Now instead of the major 7, we're going to play the dominant 7. Coming back down, root, dominant 7. So it's like a major scale with a lowered 7th. Let's do it again. One, two, three, four, five, six, dominant 7, eight. Dominant 7, six, five, four, three, two, one. Now from a pattern perspective on the bass, it's actually a little bit easier because the patterns as you go up are exactly the same. From string to string, it's the same pattern and that does kind of make it a little bit easier. Now when you're playing that with let's say a piano player or a guitar player that's playing a dominant 7th chord, that's going to sound really fantastic and you're going to love the way that 7th feels. Give it a try. Try playing essentially a Mixolydian scale or a major scale with a dominant 7th or a lowered 7th all over the place. We did G major earlier, or let's do G. So it's the same thing, one, two, three, four, five, six, dominant 7, root. Let's go ahead and do it in C as well. Here's C, second, third, four, five, six, dominant 7, root, dominant 7, six, five, four, three, two. And then again, I would go all over the neck of the bass. Start on every single root you can and play a one octave major scale up and down. You're really good at it and know where your roots are and know the names of your roots. Give it a try and good luck with it.