 Okay, now we're going to take a look at where in the major scale we get these different chord qualities from. The major 7 chord comes, is based on the first note of the scale. The dominant 7 chord that we talked so much about with the blues piece is based on the 5th note of the major scale. And then we're going to talk also about the minor 7 chord which is based on the 2nd note of the scale. So let's review, here's the major 7 chord. Alright, so if we just take our C major scale, all the white keys, all naturals, and take the first note, the 3rd note, the 5th note, and the 7th note, we get a C major 7 chord. Okay, now in the same scale, if we move up to the 5th note, which is G, and we play the first, 3rd, 5th, and 7th notes from G, we get this sound. Now you'll notice the 3rd of the chord is still major, but when we get to the 7th, it's not a major sound like we had earlier. With the C major 7 chord, we have this sound. With the G sound, we have the 7th lowered, and so we get the dominant chord that we've been talking about. So if from any scale you're using, if you start on the 5th note of the scale and play the root 3rd, 5th, and 7th, you will get the dominant chord of that key. If we start on the 2nd note of the scale, we're in the key of C, so we start on D, and again play the root, the 3rd, the 5th, and the 7th of that chord, we get a minor 7 chord. And again, regardless of the key you're in, if you start on the 2nd note of that scale, you're going to get a minor 7 chord. Now some people think of it a different way. They think of it as, if we have the G scale, if we had a major 7, we'd have the F sharp, so we're flatting the 7th or lowering the 7th, the half step, to get a dominant 7 chord. For the minor 7 chord, if we're in the key of D, a D major 7 chord would be D, F sharp, A, and C sharp, so we're lowering the 7th and we're lowering the 3rd to get our minor 7 chord. So that's really two ways you can think about arriving at dominant 7 chords and minor 7 chords. You can think of the key we're in and think of it as the 5 of that key, or you can think of it as the, for the minor 7 chord, think of it as the 2 of that chord, and it will give you the correct notes. Or, for the dominant chord, you can think of lowering the 7th from a major chord, and you have the dominant 7, and for the minor 7, you're lowering the 7th and lowering the 3rd. And we'll talk a little bit more about that in the jazz theory end of things, but just so you know, that's kind of how these all relate to the major scale. So if we have the 1 chord, we have the major sound. If we have the 5 chord, we have the dominant sound, and the 2 chord, we have the minor 7 sound, and we can go back to the dominant, and finally the, and that sounds like it ends. That's the tonic of that key, so it ends on the 1 chord. So experiment with in different keys, can you find the dominant chords and the minor 7 chords that occur naturally in all of the different keys? Take a look at those and see what you think.