 Okay, we've taken a look at the different chord qualities we might use to begin with in jazz, and now we're going to focus in even a little more on the dominant chord qualities that we'll use when we're playing blues. It's a good place to start in jazz because we only use dominant chords, so we're going to take a look at those first. So again, if we're thinking in the key of B-flat, the first dominant chord we would use would be the B-flat dominant chord with that lowered 7th, which would sound like this. Okay, we've talked about several different chord qualities, but in the blues we primarily use the dominant 7 chords, and today we're going to take a look at red garlands blues by 5 that's in the key of B-flat, which is the key I just played, the chord I just played, so there's the B-flat dominant chord. This piece also uses the E-flat dominant chord, so we go E-flat, the third is G, the fifth is B-flat, the seventh is D-flat, so we're going to use the E-flat dominant 7th chord, and we're going to use the F dominant 7th chord, F, A, C, and E-flat. So basically this whole piece is made up of those three chords, the B-flat 7 chord, the E-flat 7 chord, and the F7 chord. Now we've talked about earlier the three note voicing idea where we play the root in the bass, and the third and the seventh in our right hand, so you'll notice that's what we have here. The B-flat chord, instead of playing it in order, we're breaking it up a bit. The root is in our left hand, the third is here, and the seventh is here. We can do the same thing with the E-flat chord, root in the bass. Now where is the third of the E-flat chord? It's a G, so all we have to do is move the A-flat down a half step to here, and the seventh is D-flat here. I'm going to finger that strangely just so you can see those notes, so check that out. All we had to do was move a half step with our right hand, both notes, and we have our E-flat dominant 7th chord, and then in this particular piece it goes back to the B-flat dominant 7th chord, so we're right back where we began, and then finally the F7 chord, F in the bass, and now we're going to move both notes in our right hand up a half step, so we get the E-flat and A, the third of the F chord, and the seventh of the F chord. There it is, and then we come back down the half step in our right hand for the B-flat. So there's very little motion in our right hand as we change chords. Let me play the accompaniment track for you with this, and we will play along with it, and watch particularly the right hand and see how little motion there is from note to note. Alright, so hopefully you noticed, I know it's maybe difficult to see with my hand in the way, but very little motion from chord to chord. The B-flat chord here, the E-flat chord here, we move it back to the B-flat chord, and then the F chord, and back to the B-flat chord. So I encourage you to experiment with the one chord, the four chord, and the five chord in that blues piece, play along with the accompaniment track, and when you feel comfortable with that, maybe even attempt to play that same idea in various keys, maybe in the key of F or in the key of C. Give that a shot and see what you think. Good luck.