 Hi guys, this is Jason here from Nathaniel School of Music. Welcome again to a lesson on dominant seventh chords, a chord which I really love and I've used, I've been happy to have used it with a lot of, in a lot of scenarios. So this is also a follow up from the earlier part, which hopefully you've watched that. If you haven't do, check that out as well. You can just find it in the channel or in the description. However, it's not really a continuation. It's just, I've just figured 10 ways of hearing and digesting and noticing and applying the dominant seventh chord to your music. So all of these ways are very different from each other. And I've tried to put all, as much as I can into this lesson series. So in this particular lesson, I'm gonna start off with the first part, which is the Jazz 251 progression on the major scale. So using the major scale, I'm using F major for you, which is F, G, A, B flat, C, D, E, one flat, B flat. And these are all the seventh chords of the F major scale. If you'd like some insights into seventh chords, you can definitely check out our theory lessons on the YouTube channel. There are quite a few. We also have courses. We have video courses which will teach you all of this in a very sequential way. How to form it, note for note, and so on and so forth. So the Jazz 251 progression comes from this scale or any scale, major scale. When you have, first of all, at least form the seventh chords because Jazz music generally uses seventh chords a lot in its formation. So if you take F major scale, the seventh chords are F major seventh, G minor seventh, A minor seventh, B flat major seventh, C dominant seventh, D minor seventh, E minor seventh flat five, or the half diminished has that five symbol. And then F major seventh, it's not really a new chord. It's just continuing. So these are your F major scale seventh chords. Okay. Now, where you can really digest the sound of the dominant seventh chord is in a very, very common Jazz music progression, which is 251. So these are all seventh chords, diatonic to the key of F. So the two minor seventh would be G minor seventh, the five dominant seventh would be C dominant seventh and then it resolves to the F major seventh which is the tonic major seventh chord. Now, we also put this sign indicating that you could repeat this for another bar. You could also, however, play a secondary dominant chord which is the five of the two. So D seventh kind of pulls back and loops it, helps us loop it in a very strong way. So this is a very common Jazz progression. So if you practice this, you can learn a lot of songs and you can really identify the dominant seventh chord whenever it comes because it's the chord which precedes the tonic and it comes after this two. So the two goes to five going to one. So identifying the dominant seventh chord in this way becomes a very, very important thing to do. Let me just demonstrate this with and without this D seventh at the end. So that's G minor seventh, C dominant seventh, F major seventh, okay. You can do it four times, F. You can do G, going to C, going to F. Then the other chord, you can do D and then go back to G minor seventh. This is the dominant seventh chord, C seventh which takes us to F major seventh. One more time. F major seventh, repeat. C, that's D seventh, that flavor chord at the end. So that's your Jazz 251 on a major scale. Now the next part kind of follows this immediately. That is the Jazz 251 minor. Now the Jazz 251 minor could either be considered as part of the minor scale or you could even build it from within the major scale itself. So let me try and demonstrate both use cases. So if you take the F harmonic minor, F harmonic minor is F, G, A flat, B flat, C, D flat, E, F. So that's your flat three, flat six, D flat, raise seventh with respect to the natural minor. And yeah. So that's your F harmonic minor. Now, if you build your chords, you'll find that the 251 from within this particular scale happens to be the G minor seventh, which is your two. Going to the C seventh, which is your five. I've also written five flat nine. I'll talk about that shortly because it's a nice addition or a nice spice to add for the dominant seventh chord and that results to a traditional one minor. So this is where you need to now know how to form the chords of a minor scale. In this case, the harmonic minor. So one minor two will be a diminished, but when you add a seventh, it's going to be a minor seventh flat five. That is G, B flat, D flat, F. If you form the triads with that extension, which is the seventh. Two, two, two, two, two, two, two, two, two. That's your C seventh going to F, F minor. So the whole story again would be G minor seventh flat five going to C. This is your dominant C seventh going to F minor. I also like a minor major seventh. I quite like that. So back to. Now, why did I add a flight, a flat nine? So let me help you now with the flat nine very quick. You go, this is your C seventh chord. The flat nine will not, will be the two flattened. Now, why does this work so well? Because it's part of the, it's anyway part of the F harmonic minor scale. So it offers an additional magnetic attraction to the tonic. So there's, there's also. So there's a lot of notes which are attracting to the tonic minor. Let me play around with it a little more. Minus seven flat five going to C seventh flat nine, which is optional F minor. Now you could also look at this in the F major scales context. So in the F major scale, you have what we call is a relative minor, which is the D minor. How do we form the relative minor? We move the sixth from the scale. So, so the sixth of F is D. So you could now say the 251 of the F major scale will be G minor seventh going to C seventh going to F major seventh. But then you could also have the same minor 251, which I taught you for the harmonic minor, which you could kind of use to go to the relative minor of F major. So you could go E half diminished or E minor seven flat five, which is the seven of F major going to A seventh, which is the five of the D minor, which is the tonic minor. So if that was confusing, you can forget it and just practice it this way. But just to tell you that the 251 progression can be practiced in the key signature of F major as a minor 251 or even as a major 251, which I taught you earlier. So as a major 251, it'll be G seventh going to, G minor seventh, sorry, going to C dominant seventh going to F major seventh. And then you go E minor seventh flat five, A going to the relative minor. So you could actually fool around and maybe play them together actually, like repeat major 251, G minor seventh, C F. Now the other one, the minor. That's the major scale 251 and then the minor. People do that as well. They'll combine the major 251 and the minor 251. I don't do that very often, but there are a lot of songs which do that and they do it very, very strongly and beautifully as well. Okay, guys, let's move on to the other way to really digest and get this dominant seventh chord into your system, very important chord. Let's move on. So in this demonstration of the awesomeness of the dominant seventh chord, I'm trying to explain it in a modal context. So I've chosen the Mixolydian mode. The Mixolydian mode kind of really presents this chord in all its glory. And what I like about using a scenario, a modal scenario is the fact that you don't have to really change the chords. You can just hold on to the chord. So A seventh could be just play A. And now the entire mode or the entire melody will be built using the notes of this mode. Now if you think about it, a mode is nothing but a scale. It's A Mixolydian is what? It's just A major with a flatten seventh, if you think about it. But if you use this and if you don't really play too many chords and if you drone it with just the tonic chord, in this case, A dominant seventh, gives you a very, as we say, modal flavor. So let me just show you what I mean. Let's first form the Mixolydian scale in the right. That's A Mixolydian coming down, as you can see. As you can see, flat seven. So this chord really sits very well into that scale. So what you should do to approach that chord is first play the chord, either here or lower, if you like, I'm gonna play it lower and just explore the notes of the Mixolydian scale in the right hand. So everything is designed or based around this A dominant seventh chord. Another nice scale which could go over this, you can flatten the seventh. So that's what we call as the Mixolydian flat six. You could do the normal six. So this is another nice way to digest the dominant seventh chord, because it's used in this modal context. You can also build smaller scales in your right hand instead of that whole Mixolydian scale. You could go, that's nice. I'm just building a few sub-scales or smaller scales from within the bigger scale, in this case the Mixolydian. So in the Mixolydian scale or even in the Mixolydian flat six, you have a flat seven, of course. You form the scale, improvise the scale in your melody in your right hand if you're a piano player and in the left hand you're gonna play the seven. You could also try out the seven sus four, which instead of having the third, it has the sus four, which is the four. That's a dominant seventh. That would be a seven sus four. C sharp becomes D. So both this will really serve the Mixolydian flavor or the sound of the Mixolydian really well. That's another nice way to digest the seventh chord. Let's move on. Right everyone, so in this penultimate usage of dominant seventh chords to train your year theory and everything else, I'm using the subject, the very popular theory subject and the very important theory subject called secondary dominance. So with secondary dominance, what happens is we choose chords or we use chords which are outside the key. In this case, I'm using a flat major. So we embellish or we add on to the existing palette of chords with our secondary dominant chords. Which are outside the scale of A flat but have the tendency, have the locking potential or the magnetism to come back to a diatonic chord. So what are the diatonic chords of A flat major? A flat major being the one major, B flat minor being the two minor, C minor being the three minor, D flat major being the four major, E flat major becoming the five major or the five dominant seventh. Now we call this as a primary dominant because it is a dominant seventh chord which is contained in the target A flat major scale. So E flat seven tends to resolve back to A flat. Then you have an F minor and then you have a G diminished. Now what we try to do is first of all, you know the primary dominant which is E flat dominant seven. So that tends to go to A flat. So what you're trying to answer or ask is what is the five of this? What is the five of that? So we name these dominant chords or rather secondary dominant chords because they are not part of the major scale. They come into the chord of the major scale. So we need to know the five of the two, five of the three, five of the four, five of the five and five of the six. So how do we compute this five of two? So what is five of B flat? You need to know what is B flat's fifth. What is B flat's fifth? It happens to be F. So if you play an F seventh, it will very happily go to B flat minor. F seventh goes to B flat minor. It's stable. Okay, similarly, if you take C minor as your target, what is C's fifth? G. So you play the dominant G, which is what I've written here as the five of the three. So F seventh goes to B flat minor. La da da da da da da da da da da da da da da da da da da da da G seventh goes to the C minor per par. Okay, similarly A flat's dominant seventh will take us to the D flat major because D flat's fifth is A flat. So A flat seven takes me to D flat. Then you proceed forward. Then you have B flat dominant seventh going to the E flat major. It's also a dominant seventh chord. So la da da da da da da da da da da da da da da da da da So B flat to E flat is called as a five of the five. Don't get confused. B flat is a five of the five chord, which so the chord I've written with Romans and normal number is just the five. That's the interval five. So F seventh is a five of the two. G seventh is a five of the three, which is C minor. A flat seventh is the five of the four, which is D flat major. This thing B flat seventh is the five of the five, which is E flat major. Lastly, we have five of the six, which is C seventh going to F minor. So even though functionally this is the tonic chord, you know everything is stable here and maybe here when you add chords outside the scale, you just get this feeling that anything which it resolves to is actually very stable. And this is causing that because this is so unstable that it makes all these guys stable. And just a side note, you don't really have anything resolving to a diminished chord because a diminished chord is already quite unstable. So let me go over this again. In this entire lesson series, I've preferred to stick with many scales rather than show you everything on one scale. So tighten up your theory. If you feel it's a bit tricky, write it down, write it down a few times and try to digest this information a bit more. Try to watch it, repeat it if you can. But I wanted to demonstrate this on many scales to try and get you to know all this stuff better. So coming to A flat, let's revise all this. So first of all, diatonically, A flat, B flat minor, C minor, D flat major, E flat major, F minor, G diminished, and A flat, coming down. Those are all your A flat major chords. Important to know those first. And now you do your secondary dominant. So what wants to go to the one? That's your five of the one. That's E flat, we'll go to A flat. What wants to go to the two? F major, F dominant seventh will go to D minor. And then G seventh will go to the C minor. And then E flat seventh will go to the D flat major. And then D flat dominant seventh will go to the E flat major. And then C dominant seventh will go to the F minor. You can use this in so many cases. Yeah, sometimes it's good to read it while you practice because you can play a bit more freely and utilize all these options. So have fun with secondary dominants, guys. It's a very, very useful way to not only, you know, get the sound of the dominant seventh chord into your system. It's also a great way to compose music and compose some very innovative music which may not have been done very often in the past few couple of decades, I guess. People don't seem to use this stuff very often. They just seem to go diatonic or it's just a standard progression, like one, five, six, four or something like that and becomes very machine-like or very robotic sometimes. So it'll be good for you to contribute to the music listeners of today by playing some different stuff. So secondary dominants is a great way to move forward with harmony. So let's conclude the lesson with my final way of using dominant seventh chords. It's probably gonna be a lot of fun. So let's move forward. So with the final technique of digesting dominant seventh chords, I've just kind of proposed a strategy where instead of just playing a seventh chord, you try and color those chords because a dominant seventh chord can be colored up the most among all the chords. You can do so many things to it. You can play all sorts of scales over it. You can play, well, some very, very exotic scales over this particular chord. So why not make the chord itself very colorful? So I've used E seventh as my base demonstration. Just E seventh. And I just wanna show you a few colors of this particular chord, which you'll find very useful, and you can use it to substitute the chord in some cases. Or in some cases, you could just use these colorful versions and see where it goes as a composition. So first off, the seven sharp nine chord. So let's understand this. You play the dominant seven and what's a sharp nine? So a sharp nine is some kind of a two. So what's the two of E? F sharp. That'll be your normal nine. But your sharp nine would actually be one chromatic step above F sharp, which is? Which is that. Very jimmy, jimmy-handic sound. Use it a lot in blues rock. E seven sharp nine. So that's your seven sharp nine. So E seventh with a G at the end. I guess we officially call it F sharp sharp. If you ever want to remember it that way. I would just say G. I would just say E seven sharp nine. I would just say G. Very cool sound. You can play it like this as well. Quite like that. Then we have the seven flat nine, which I actually showed you earlier slightly in that minor two five one. So there we go. I would always use a seven flat nine when I'm resolving to the minor. That's at least how I do it. So what do we do for flat nine? Again, normal nine down one. Flattening means go down one. Sharpening means go up one. Flattening. Another great way of embellishing this would be a seven sharp five. So there you're going to do E seventh. And I've mentioned your no perfect fifth. So you go no fifth, but instead of that you raise the fifth as the formula says seven sharp five. There we go. You could also call it an augmented chord because whenever you take a major chord with a sharp five, it's an augmented with a flat seven. So this is E seventh. This is E seven sharp five. Mystical, very dreamy actually. The sound would actually resolve it to the minor or major. There we go. So now another very interesting way of using it would be seven flat five. So that's your five. Remove the five and flatten it here. Very chaotic. There we go. So normal seventh. Seven sharp five. Seven flat five. Normal. Dominant seventh. It's still unstable, you know. Even more unstable. Flat five. Sharp five. Very unstable and normally major. So yeah, lastly you have seven sus four. So you take the this one. So you take the seven chord. Remove the third and you got yourself a seven sus four. Again a very ambient chord. So right guys, so we've covered ten ways of using the dominant seventh chord. I think all these ten ways should hopefully give you the years for it and the theory knowledge for it. So whenever you're faced with a scenario where you have to, you know, come up with a progression. Well the dominant chord will always be your best friend. You really need to know its function. At the word go, you can use it as a five going to one. A dominant going to tonic. That's the classical way as we saw in the beginning. That's the authentic cadence. And we've done a few more along the way. So first of all, I hope you watched both the parts of the series. If you watch this part first, remember to go back to part one and do the, I've divided it as five plus five. And yeah, I hope you can practice this well and use it in your own music. Compose your own stuff. And as always, we'll be doing more and more of these lessons. This was more of a theory slash year training lesson. So do stay tuned to the Nathaniel channel. And we have a website which we've really spiced up recently where we put all the content on YouTube because we've done thousands of lessons right now over the past years. So we've put all the lessons on our website, nathanielschool.com. You could go there and it's categorized really well. So you could search for theory, beginner level, advanced level or whatever topics interest you. So head over there. You can also consider going to our Patreon where you'll get pretty much the notes of every single lesson which I'll ever do. It'll help you supplement your learning, stuff like that. You see the entire notes are ready and waiting for you on Patreon. Do consider going there. Subscribe to our channel if you haven't already. Thanks a ton for watching. As always, this is Jason here from the Nathaniel School of Music. As always, it's been a pleasure making this lesson for all of you. Your comments and your support means a lot. Cheers and I hope to catch you in the next one.