One of the things I really like about your channel, and the reason you are imo the best guitar channel on UA-cam, is you don't feel the need to include 4 minutes of you shredding some boring pentatonic solo every video. You open up with a joke and then pass on the information in a concise and clear way. Really all around great stuff man.
I was just laying around thinking about what happened when I lowered the one of a dominant seventh chord by a half step when it occurred to me that I could ask google at which point google with all of wisdom in the world directed me to this video which although it doesn’t touch on diminished seventh chords was very much worth my time to watch and gain insight into the use of the dominant seventh. So I decided that it would be wise to subscribe and get notifications as well as hit the like button and leave a comment. I also just wanted to say thank you for posting and commend you on your teaching skills which are exceptional! Thanks
Thanks Sean I'm glad I found your channel, you're like the cool, stylish and, most importantly, free guitar teacher I never had. I seriously appreciate your work mate ;)
My dog and I were snowed in last week so we hunkered down to learn some guitar theory. Thank you Sean for this awesome video - also the Modes videos (and with friends) got us through the storm full of the joy of the Major 7. Good times! love your work
Thanks, that explains it perfectly. I really only play by ear but it will be really useful to know stuff like this when trying to communicate with musicians.
Thanks buddy, a lot to think about and play around with as usual. You're a great teacher, you explain stuff well, and hearing you implement ideas as you talk about them is both pleasant and educational... can't wait to come back to this in a year with a more mature understanding of the subject.
especaily wen yu get into inversions and strange voicings, i thin it becomes about how much pressence you want the chord to have 7's re more melow and subdued and full major voicing usually have a bolder expression in practice,thats my experience atleast
Thanks yet again Sean they sound so sweet and kind of forces me to look for different lead lines more so than just playing the standard major chords in my head anyway cheers friend
When, where, and why to play extended chords is the kind of stuff I don't know I'd ever figure out on my own. Good stuff. Also helpful to hear why that dominant 7 creates tension. I've written country blues with all 7th chords, but I rarely use M7s with dominant 7s. Now I will.
You can use it any time you want...especially on a guitar fretboard. Depending on the chord shape you use. The notes will be in different octive which create variations or colors. So it'll depend if your ascending or descending....and the chord shape you use....The sound YOU WANT. Or you can use it for CADENCE to give simple chord progression Variations. Just a singer might do....singing the same words over the same chord.. but will alter their vocal slighty...There's dynamic involved..How loud or soft the notes are being played...How they're being strike, pick , pluck or strum..ect Lets just keep it simple....Make the A minor ( Stairway to Heaven chord shape) If you place your pinky on the F note ( A string 8th fret) It'll simply turn into FMaj7. Look at it also from this aspect....b3rd Vs Maj3 There's other parallel scales....involved. The more you're familar with other scales..the more you'll blend/vamp/sub...chords/modes in and out. In A minor for simplicity....A min...D min...E min If you play G# it's A harmonic minor. The G# will simply turn the E min7 into E7. The mode is just E phrygian with a Maj3..AKA E phrygian Dominant You can also play the F chord now..as Fmin/Maj7... G# is b3 from F...yes??? Mode = Lydian #2. You can simply play the G# note from the Fmaj7...simply using your middle finger...You'll still have the A note on the top end. You now also play the F as FULL diminished...F, G#, B, D... and the D as min7 or full diminished too ( D dorian #4) You can also play the G# as AUGMENTED or FULL diminished G#, C, E.....or C, E, G#....E, G#, C You can also play C aug into F min..and still be within all the notes of A harmonic minor Or ...SHIFT KEYS...C augmented into F harmonic minor..... The process simply continue.....F# and G# = A melodic minor.. Now the D also turns into a dominant D7, E7.... D#, F#, G# = A lydian b3.....The B into B7 ( Mix b2) E turns into E Maj7 or E Harmonic MAJOR than Eb G# = Harmonic minor b5 = F Hungarian MAJOR... in other words...F into a possible Dominant There's different ways you can modulate or shift keys. Like I said...the more you're familar with the scales/modes and fret board the more ways you'll mix and match the modes...and shift to multiple keys and back.... Example...Lets go back to the Amin and F maj7. You can easily make the D minor chord from there. Play G7 into C or G7 , A7 into D minor G7 , A7, D min...is just D Melodic minor A min , D min , F Maj7 can also be in D minor yes??? The II chord of D melodic minor is also a minor chord. You can play E min as will... the only note you alter is the C to C#...which make the A as Maj3 Now you can play the Bb as Maj7 Or from F maj7 and E minor ( N6) neopolitian = Harmonic minor b2 or melodic minor b2 The F maj7 chord will be the b II chord of E harmonic minor b2 While Playing the F maj7 chord....simply slide your Index finger down one fret ( 4th fret) while holding the F note... Then simply PULL oFF the note on the 4th and 5th fret to the open notes of the D, G B strings....Then simply play D# into E minor...easy...yes? Do you also see it from A harmonic minor b2 ???? The Bb as lydian ish into D natural minor...ect??? As if the nut ( in A minor) or CAPO at the 5th fret.... You can also easy pull off from the 2nd and 3rd fret to open notes on D, G, B string..then C# into D minor....EASY ..yes? You can also play the D as Lydian b3 ( A Harmonic MAJOR or A as Maj7) Play E7 is simply the Mix b2 instead of Phrygian dominant all the time.lmao or play D dim...F dim...G# dim into A minor....again. if you play Bb as aug...it'll be as if your going to G harmonic minor..ect A melodic minor b2....Maj3 below D7 Then you can play A min D7 into E minor.,,which simply put you in E nutural minor or you can play A min D7 , E7 or A min Dmin, E7 You can do alot more..Im just showing you in three chords. So you'll get the concept.
That was awesome, thanks for the clarification and tips on how to use the arpegio. I barely have the theoritical knowedge to follow, but I still do, and that made it that I could really enjoy this video. Thanks for making it!
Excellent lesson. Your videos really are improving my playing and music theory - I had been confused because extended chords sometimes use notes that are from outside their particular major scale - but now I know that this is just fine. Furthermore if I want to stay in key, the dominant 7 chord should be rooted on the 5th note of the major scale you are playing in, 1st and 4th can be major7 chords.
If you look at the circle of fiths and take the key of C. G is the fifth. The flat 7 of G is F which is the fourth of C. That's I think why it pulls so strong to C, because you mix the 4 in with the fifth which both want to go back to C badly. While also adding a chromatic note that doesn't really belong there to the fifth.
Sean, very helpful I must say. But it is kinda funny,kinda charming when you get going and you start speaking like Lawrence Welk. A one-a two-a three-a chord-a. Just-a count-a Please don’t take offense. I’m not trying to hurt feelings. Just poking a little fun. Your video really was good. For some reason I never used Major seventh chords much,but I think I will incorporate them more into more into my song writing. They really are very beautiful chords.
Another interesting dynamic engine are the m7b5 chords. For instance, the chord on the 7th degree in the major scale or the 2nd degree in the minor scale. Interestingly, they sound like they have dominant quality but not on the actual dominant note in the scale. Funny.
So let me get this right basically if you are in the key of C and want to find the dom7 chord which is G7 technically isn’t that your B diminished chord as well in the Key of C. Basically it’s just quicker to find the dom7 chord from the Key to get your diminished chord
Not technically. Both chords will definitely do a similar job of creating tension you can resolve on the 1 chord (C), but they are different chords even though they share a few notes (G7 = G B D F, Bdim = B D F) So that B diminished triad chord is kind of tucked into that G7, but still thought of differently. Hope that makes sense!
Nice! After taking the course with you and Justin those arpeggio's are good for adding to the repertoire. I am looking for the video where you're playing the major seven as a staircase on the G and C chords using some melody lines. I can't find it. If you could link it, that would be great!
Great lesson, i was thinking about asking you to explain dominant 7 as opposed to major 7 but you've beat me to it, thx! Any thoughts on R.E.M, made some cool tunes, I think Michael stipes voice adds a lot to their instantly recognisable sound.
All of this sounds good but it's WAY over my head. Wishing that I were more musically inclined at this point.... Oh well, back to trying to play & learn regular chord patterns..........
A good friend once told me the vast majority of music theory is just a couple of things. 1. Learn to build a major scale. 2. Build chords by stacking thirds (though I like the "every other more terminology in this video). 3. Resolve from V to I. Actually, he's told me a bunch of times, because I'm kind of a slow learner.
A Maj 7th chord has a major 3rd and major 7th. A Dominant 7th chord (also written A7 or B7 etc) has a major 3rd and a minor 7th. The other common 7th chord is a minor 7th which has both a minor 3rd and 7th.
At 6:27, how are you playing the Gmaj7? I've looked it up, but it looks like you're playing it differently than the chord diagrams I am currently looking at. Is that also a chord voicing where you are playing the Gmaj7? Thanks a bunch for the info.
Hey Sean, great video as always. I'm confused with naming chords with any type of "7" in it. C(ma7) or Cmaj7 is fairly simple - "C major 7". C7 is "C dominant 7". What about c(ma7) [C,D#,G,B] - a minor C chord with added major 7th note - what's it called? "C minor major 7"? . And what about c7 or Cm7 (C,D#,G,A#)? How would you correctly name this chord? Would it be "C minor dominant seven"?
Hey, thanks! I didn't really get what i needed directly from that video, but it was great to watch it anyway, because i actually learned a few other things from it. I did goole a bit, one thing led to another and in result i managed to clear everything with those names anyway. Great channel - very effective learning curve with minimum time invested and easy to follow explanation.
you can do arpeggios specific to those chord during it OR if you think of like A maj7 and B7 being in the key of E, you can solo anything in the key of E
Okay but what? how would you turn a minor chord into a maj7 if a maj7 is built off of a major triad? great lesson but that one quip has me confused! Do you just play a non-flatted 7th over a minor triad? Or like, if you're talking about a minor key, play a sharped-7 over a regular triad?
Hey Sean! So a V dominant 7 chord leads into a I chord, and a I dominant 6 chord leads into a IV chord. Is there an extension, probably a dominant one, of a IV chord that leads into a V chord? Thanks!
Really great video! thanks :D But a question... if I have a song with lets say this chords : Am G and C, can I just turn them into 7? like Am7, G7 and C7? Great lesson and thanks
I wouldn't say it's necessary, just depends on your goals and what you want to play! Especially arpeggios though, definitely look into learning a few of them because they help map out the fretboard really well :)
Bingham Guevara the major scale consists of 7 notes, for example in the key of C: C,D,E,F,G,A,B before repeating itself. Notes 8 and 10 in the scale would refer to the same notes as 1 and 3 as they repeat. Since major chords consist of the 1, 3 and 5 you wouldn’t be “adding anything”. Just simply making a major chord so they wouldn’t apply. Hope this helps!
Yeah man... the dish soap... I feel you. Although in my opinion a dominant 7 chord at the end of a song is pretty cool. I wouldn't use it to end a chord progression but if you end a song with it, it kinda leaves suspense I guess and keeps you waiting for something that won't come. I like it. Borrowing your lexicon: It's begging to go home, but it can't. Man your vids are just great.
Hey Sean! thanks again man, great content as always... At 4:35 and at 5:40, you said the A7 and the C7 were begging to be resolved in D and F, respectively. However D and F are the *4th* notes of A and C, respectively, so I'm not quite sure why you said "the one chord" on both occasions.
Well the thing to remember is that if you're staying within the notes of one key, the dominant 7 chord only happens on the 5th note of a key, so with A, you'd have to plug A into the 5th spot and count back to D as one, even though D is also in the key of A as the 4th. Unless you're playing a blues thing where you're using a bunch of dom 7th chords, that always gives you a clue as to which note is 5 and which is 1. Hope that helps!
@@EstebanTalero99 No. When he played the A7 and said it resolved to D (as the #1 note or chord) he meant that he was in the Key of D Major, where A is the #5 note (chord). As we all know the #5 note or chord, specially when played as a Major 7, will resolve beautifully to the #1 chord.
Likewise, the C7 is the #5 note in the Key of F Major, therefore after playing C as your #5, it will naturally want to resolve to the #1 note which is C.
Can you replace all major chords with augmented chords or is it just used in harmonic major it is used? And when do you use major minor chords or minor major chords(dont remember the order)
I mean you 'can' but all augmented chords doesn't totally 'work'. Personally I kind think augmented chords sound good on the 3rd degree of any key. So like E augmented in the key of C.
to me the major seventh chord has always sounded minor. in fact the major seventh chord is the same as playing the three minor with the root of the scale in the bass.
I think I meant if you 'take' the 7th note from the g major scale, not to 'take away' a 7th note. I was trying to show how you grab the 7th note in a major scale to make a major 7 chord I think. Thanks for watching!
Sean Daniel hey man, thanks for helping me understand and Master my Art. The better I can do that the more I can help bring people from sickness to health, and from health to Excellence. The greater, and more accurate one's understanding, the greater one's ability to do that, should that be their desire for, and approach to, their Art. Which it is for me. :)
It confused me the first time someone told me to play a dominate 7 chord. I asked what is that? And they played like a D7. And I'm like " Why didn't you just say D7?" Still my question lol. Why not just say D7?
I’m familiar with the major scale and how chords are described from it, for example (gonna use All D chords for this) D5 is a D and it’s fifth. If the 7 of the major scale is 1/2 step behind the root/octave, then why is a major 7 chord not notated as D7 and a dominant 7 not notated as D Min7. I don’t understand why you have to specify Maj7, when it’s actually the 7th of the scale. In my mind, it seems a maj7 should just be notated as (D)7.
Btw, I enjoy your videos! Thanks a ton and keep it up... Any help with the above (supposed to have been a question, although it’s more of a comment) would be much appreciated
Thanks Sean, this was a great video, really helpful. Just one quick question - why is that when resolving from either dominant 7 or minor 7 you seem to resolve to the major chord... the Beatles song Something is a case in point, where at different points they use A minor maj7 to minor 7 to D, and then later Amaj7 to dominant 7 to D. Both sound great though
+Stuart McClean You're definitely right, you can also resolve to minor chords but I've been using the major ones as an example because they're a little more prevalent.
![How To Write Progressions using min7, maj7, and Dominant 7th chords [Songwriting - Music Theory]](http://i.ytimg.com/vi/3JizNRwHYNY/mqdefault.jpg)
I think I wanna know more about the dish soap story
Haha, not much to tell but it was a pretty sticky day.
Yeah, this got pretty serious for an intro... LOL
Bubbles! Bubbles everywhere! Mother!
Pretty sure our washer has seen more dish soap than laundry soap in its day.
I've had to do it a few times, and to be honest it worked out OK. I definitely rinsed myself off real good though so maybe that made the difference.
One of the things I really like about your channel, and the reason you are imo the best guitar channel on UA-cam, is you don't feel the need to include 4 minutes of you shredding some boring pentatonic solo every video. You open up with a joke and then pass on the information in a concise and clear way. Really all around great stuff man.
hahaha you nailed that '' boring pentatonic solo '', so accurate of guitar video tutorial
I was just laying around thinking about what happened when I lowered the one of a dominant seventh chord by a half step when it occurred to me that I could ask google at which point google with all of wisdom in the world directed me to this video which although it doesn’t touch on diminished seventh chords was very much worth my time to watch and gain insight into the use of the dominant seventh. So I decided that it would be wise to subscribe and get notifications as well as hit the like button and leave a comment.
I also just wanted to say thank you for posting and commend you on your teaching skills which are exceptional!
Thanks
I ended a song in a dominant 7 chord one time and lost three friends :(
Lol
Thanks Sean I'm glad I found your channel, you're like the cool, stylish and, most importantly, free guitar teacher I never had. I seriously appreciate your work mate ;)
Thanks so much! I'll try and keep it up :)
My dog and I were snowed in last week so we hunkered down to learn some guitar theory. Thank you Sean for this awesome video - also the Modes videos (and with friends) got us through the storm full of the joy of the Major 7. Good times! love your work
Sorry you got snowed in but I'm glad you made the most of it!!
One of the funniest intros you've made. Totally laughed out loud ^^
And also the video is not to shabby either.
Nothing like learning from experience :)
Thanks, that explains it perfectly. I really only play by ear but it will be really useful to know stuff like this when trying to communicate with musicians.
Sean, I have not appreciated your site until I reached this point. This point is exploring major, dominant, major7 and major7b5 voicings. Thank you.
i watch a lot of teachers-you just showed up in my start page today-good for youtube! i'm enjoying these lessons
Welcome to the party!
Thanks buddy, a lot to think about and play around with as usual. You're a great teacher, you explain stuff well, and hearing you implement ideas as you talk about them is both pleasant and educational... can't wait to come back to this in a year with a more mature understanding of the subject.
great explanation. thorough, concise, practical. appreciate it my friend.
one of the better explanations giving examples ive found so far. Good job
So dominant 7 chords builds a suspense/tension and major 7 chords just makes chords prettier right?
That's an excellent way to put it!
especaily wen yu get into inversions and strange voicings, i thin it becomes about how much pressence you want the chord to have 7's re more melow and subdued and full major voicing usually have a bolder expression in practice,thats my experience atleast
Nooz Zoo so on point 🙏🏾🙏🏾💪🏾💪🏾💪🏾
Thanks yet again Sean they sound so sweet and kind of forces me to look for different
lead lines more so than just playing the standard major chords in my head anyway cheers friend
Great to hear it Martyn!
fabulous - clears something up for me that for some reason hadn't stuck before. Cheers Sean (another Sean)
Great to hear it!
Love your vids, very interesting, informative and funny. Would love some chord diagrams added in :) or any other visual aids too.
Thanks for the feedback Dan!
When, where, and why to play extended chords is the kind of stuff I don't know I'd ever figure out on my own. Good stuff. Also helpful to hear why that dominant 7 creates tension. I've written country blues with all 7th chords, but I rarely use M7s with dominant 7s. Now I will.
Very cool to hear Joel! Thanks for watching :)
You can use it any time you want...especially on a guitar fretboard. Depending
on the chord shape you use. The notes will be in different octive which create variations or colors. So it'll depend if your ascending or descending....and
the chord shape you use....The sound YOU WANT.
Or you can use it for CADENCE to give simple chord progression Variations.
Just a singer might do....singing the same words over the same chord..
but will alter their vocal slighty...There's dynamic involved..How loud or soft
the notes are being played...How they're being strike, pick , pluck or strum..ect
Lets just keep it simple....Make the A minor ( Stairway to Heaven chord shape)
If you place your pinky on the F note ( A string 8th fret) It'll simply turn into FMaj7.
Look at it also from this aspect....b3rd Vs Maj3
There's other parallel scales....involved. The more you're familar with
other scales..the more you'll blend/vamp/sub...chords/modes in and out.
In A minor for simplicity....A min...D min...E min
If you play G# it's A harmonic minor.
The G# will simply turn the E min7 into E7.
The mode is just E phrygian with a Maj3..AKA E phrygian Dominant
You can also play the F chord now..as Fmin/Maj7...
G# is b3 from F...yes??? Mode = Lydian #2.
You can simply play the G# note from the Fmaj7...simply using your middle
finger...You'll still have the A note on the top end.
You now also play the F as FULL diminished...F, G#, B, D...
and the D as min7 or full diminished too ( D dorian #4)
You can also play the G# as AUGMENTED or FULL diminished
G#, C, E.....or C, E, G#....E, G#, C
You can also play C aug into F min..and still be within all the notes
of A harmonic minor
Or ...SHIFT KEYS...C augmented into F harmonic minor.....
The process simply continue.....F# and G# = A melodic minor..
Now the D also turns into a dominant D7, E7....
D#, F#, G# = A lydian b3.....The B into B7 ( Mix b2)
E turns into E Maj7 or E Harmonic MAJOR
than Eb G# = Harmonic minor b5 = F Hungarian MAJOR...
in other words...F into a possible Dominant
There's different ways you can modulate or shift keys.
Like I said...the more you're familar with the scales/modes and fret board
the more ways you'll mix and match the modes...and shift to multiple keys
and back....
Example...Lets go back to the Amin and F maj7.
You can easily make the D minor chord from there.
Play G7 into C or G7 , A7 into D minor
G7 , A7, D min...is just D Melodic minor
A min , D min , F Maj7 can also be in D minor yes???
The II chord of D melodic minor is also a minor chord.
You can play E min as will...
the only note you alter is the C to C#...which make the A as Maj3
Now you can play the Bb as Maj7
Or from F maj7 and E minor
( N6) neopolitian = Harmonic minor b2 or melodic minor b2
The F maj7 chord will be the b II chord of E harmonic minor b2
While Playing the F maj7 chord....simply slide your Index finger down
one fret ( 4th fret) while holding the F note...
Then simply PULL oFF the note on the 4th and 5th fret to the open notes of the D, G B strings....Then simply play D# into E minor...easy...yes?
Do you also see it from A harmonic minor b2 ????
The Bb as lydian ish into D natural minor...ect???
As if the nut ( in A minor) or CAPO at the 5th fret....
You can also easy pull off from the 2nd and 3rd fret to open notes
on D, G, B string..then C# into D minor....EASY ..yes?
You can also play the D as Lydian b3 ( A Harmonic MAJOR or A as Maj7)
Play E7 is simply the Mix b2 instead of Phrygian dominant all the time.lmao
or play D dim...F dim...G# dim into A minor....again.
if you play Bb as aug...it'll be as if your going to G harmonic minor..ect
A melodic minor b2....Maj3 below D7
Then you can play A min D7 into E minor.,,which simply put you in E nutural minor
or you can play A min D7 , E7
or A min Dmin, E7
You can do alot more..Im just showing you in three chords. So you'll get
the concept.
That was awesome, thanks for the clarification and tips on how to use the arpegio. I barely have the theoritical knowedge to follow, but I still do, and that made it that I could really enjoy this video. Thanks for making it!
Brilliant! So many wonderful ideas in this.
Thanks so much for watching!
Yeah!! That's getting back to the music . Great lesson ! Man are blessed from the hard work you put into your channel.
Thanks so much Diana! I'll keep em coming!
Excellent lesson. Your videos really are improving my playing and music theory - I had been confused because extended chords sometimes use notes that are from outside their particular major scale - but now I know that this is just fine. Furthermore if I want to stay in key, the dominant 7 chord should be rooted on the 5th note of the major scale you are playing in, 1st and 4th can be major7 chords.
You got it man!
This is the best explanation I've found on youtube -- thank you!
This guy is the most intelligent comprehensive approach to chord theory EVER. And Polite Lol
Thanks so much!
Excellent tutorial - feel my playing will leap forward now!
Ohh man you are the saviour, finally I understand the whole concept 🙌🙌🙌
Wow these Videos are amazing, I love the way you explain these things it makes it easy for me to apply them :)
Often I find stuff and chords Ive come up with by myself, that I didn't really understand, Its good to actually know what you're doing
That's exactly how I was. Then learning the theory allowed me to understand why I was doing it and my playing got a lot better :) Thanks for watching!
really good lesson and channel. really clear music theory... just about getting my head around it. This helps alot. thx man
Always happy to help!
This guy deserves more than 1 million subscribers like other guitarist. By the way, I like your lessons.
Thanks so much!
Extremely helpful !! Thank you ~ My Best ~ Joe
Oh, great! Now the curious side of my brain wants to shower with dish soap. THANKS, SEAN! 😳
If you look at the circle of fiths and take the key of C. G is the fifth. The flat 7 of G is F which is the fourth of C. That's I think why it pulls so strong to C, because you mix the 4 in with the fifth which both want to go back to C badly. While also adding a chromatic note that doesn't really belong there to the fifth.
Smooth and very easy to understand
Excellent explanation - just what I needed, thank you.
Nicely done!! A whole lot of great theory packed into this lesson. Thanks Sean
Always happy to help!
This one had the lightbulbs going off. Thanks Sean
Oh I get it now! So that why the mixolydian works over the dominant 7 because of the minor 7th interval!
You got it David!
what a great communicator...awesome lesson....tu
Thanks so much!
Sorry for the intrusion ..thanks for everything! I like your channel!
Always happy to hear from ya!
such an amazing lesson!!!
Thanks so much!
thank you, I love this
I think the major 7ths sound so beautifull , not so much the dominant 7ths
Thanks for this 😀
Thanks Sean!!
Mohahdeeb.... great work.😃😃
Sean, very helpful I must say. But it is kinda funny,kinda charming when you get going and you start speaking like Lawrence Welk. A one-a two-a three-a chord-a. Just-a count-a Please don’t take offense. I’m not trying to hurt feelings. Just poking a little fun. Your video really was good. For some reason I never used Major seventh chords much,but I think I will incorporate them more into more into my song writing. They really are very beautiful chords.
You're gonna love the major 7 life!
Another interesting dynamic engine are the m7b5 chords. For instance, the chord on the 7th degree in the major scale or the 2nd degree in the minor scale. Interestingly, they sound like they have dominant quality but not on the actual dominant note in the scale. Funny.
Oh you know I love that m7b5 chord!
Sean at his best.
Thanks Pineapple!
How do you turn minor chords into major 7 chords, and major chords into minor 7 chords?
So let me get this right basically if you are in the key of C and want to find the dom7 chord which is G7 technically isn’t that your B diminished chord as well in the Key of C. Basically it’s just quicker to find the dom7 chord from the Key to get your diminished chord
Not technically. Both chords will definitely do a similar job of creating tension you can resolve on the 1 chord (C), but they are different chords even though they share a few notes (G7 = G B D F, Bdim = B D F) So that B diminished triad chord is kind of tucked into that G7, but still thought of differently. Hope that makes sense!
Great info. Thanks for sharing.
Always happy to help!
Nice! After taking the course with you and Justin those arpeggio's are good for adding to the repertoire. I am looking for the video where you're playing the major seven as a staircase on the G and C chords using some melody lines. I can't find it. If you could link it, that would be great!
Man thanks so much! I vaguely remember something like that but I have no idea which one that was :(
@@seandaniel23 Haha, same here.
@@seandaniel23 I found the video when I wasn't even looking for it. It's Learning Repeatable Fretboard Patterns. Irony city, hahah.
best intro of all time
Thank u so much🙏🏼
Happy to help!
Great lesson, i was thinking about asking you to explain dominant 7 as opposed to major 7 but you've beat me to it, thx!
Any thoughts on R.E.M, made some cool tunes, I think Michael stipes voice adds a lot to their instantly recognisable sound.
You know what's crazy I've only actually heard like 4 REM songs!
If you've heard "radio free europe" you've heard them all
great video
thank you!
Happy to help!
Thanks a lot Sir and godbless
Perfect fourth of the key's root note vs the tritone (#4 / b5 / blue note) of the same...
So, what makes it “dominant” when it really doesn’t dominate anything? Is it dominant in contrast to submissive or how does that work?
I honestly just asked myself this question aloud before opening UA-cam. Like it was meant to be
Destiny!
All of this sounds good but it's WAY over my head. Wishing that I were more musically inclined at this point.... Oh well, back to trying to play & learn regular chord patterns..........
You'll get it eventually Steve! Just keep rocking!
Hey man if you can learn the fingerings and they sound good, PLAY IT! The theory behind it will start to come click sooner or later.
A good friend once told me the vast majority of music theory is just a couple of things.
1. Learn to build a major scale.
2. Build chords by stacking thirds (though I like the "every other more terminology in this video).
3. Resolve from V to I.
Actually, he's told me a bunch of times, because I'm kind of a slow learner.
Major 7 is bestgirl dom 7 is spicy boi minor 7 is edgelord and 7flat5 is a potato you can now play jazz
A Maj 7th chord has a major 3rd and major 7th. A Dominant 7th chord (also written A7 or B7 etc) has a major 3rd and a minor 7th. The other common 7th chord is a minor 7th which has both a minor 3rd and 7th.
I use Major 7 chords like sugar. Sprinkle some to sweeten the music but add too much and it becomes too sappy and sweet to be digestible
So major 7 is ssme as just major?
thanks very helpful!
Happy to help!
At 6:27, how are you playing the Gmaj7? I've looked it up, but it looks like you're playing it differently than the chord diagrams I am currently looking at. Is that also a chord voicing where you are playing the Gmaj7? Thanks a bunch for the info.
Why do we call it 7 instead of dominant 7?
what is the chord you have on the thumbnail is it a major 7th staring in the low e string?
That’s cleared things up nicely. Why do other people complicate this subject. Cheers 😁
I want to learn about this but man that inflection though.
lol
Thank u sir
Happy to help!
a lot of people seem to call the chord at 4:17 A7 but it's supposed to be dominant 7 right? pls help
turning the minor chords into major 7 chords would be using the harmonic minor right...??
Could u make a video about maj13 chords? I recently discovered them, and I realy like the sound, but I'm not quite sure how to use them
Good call, I'll put it on the list!
Good lesson Sean. Thank you! ...sub'd
Welcome to the party!
Hey Sean, great video as always. I'm confused with naming chords with any type of "7" in it. C(ma7) or Cmaj7 is fairly simple - "C major 7". C7 is "C dominant 7". What about c(ma7) [C,D#,G,B] - a minor C chord with added major 7th note - what's it called? "C minor major 7"? . And what about c7 or Cm7 (C,D#,G,A#)? How would you correctly name this chord? Would it be "C minor dominant seven"?
Check this vid out, hopefully it helps! ua-cam.com/video/JVmeRbqLowI/v-deo.html&t=
Hey, thanks! I didn't really get what i needed directly from that video, but it was great to watch it anyway, because i actually learned a few other things from it. I did goole a bit, one thing led to another and in result i managed to clear everything with those names anyway. Great channel - very effective learning curve with minimum time invested and easy to follow explanation.
How would you solo over these chords? Because there are notes that don't go together. Thanks
you can do arpeggios specific to those chord during it OR if you think of like A maj7 and B7 being in the key of E, you can solo anything in the key of E
Even the most subscribed youtuber knows how to teach guitar
Okay but what? how would you turn a minor chord into a maj7 if a maj7 is built off of a major triad?
great lesson but that one quip has me confused!
Do you just play a non-flatted 7th over a minor triad? Or like, if you're talking about a minor key, play a sharped-7 over a regular triad?
Thank you so much man! I finally understand this lol
Dtfo dish soap tho ....threw me way off I was laughing the entire video
Hey Sean! So a V dominant 7 chord leads into a I chord, and a I dominant 6 chord leads into a IV chord. Is there an extension, probably a dominant one, of a IV chord that leads into a V chord? Thanks!
for a IV to lead to a V one thing you could do is add the iii before the IV then it'll create a movement leading up to the V
Really great video! thanks :D
But a question... if I have a song with lets say this chords : Am G and C, can I just turn them into 7? like Am7, G7 and C7?
Great lesson and thanks
Yep. The 7th for each chord would be G for Am, F for G and Bb for C
In what context does minor major 7 chords and arpeggios happend and do you think it is necessary to learn them at all?
I wouldn't say it's necessary, just depends on your goals and what you want to play! Especially arpeggios though, definitely look into learning a few of them because they help map out the fretboard really well :)
Is there a C maj 8 or C maj 10 chord?
Bingham Guevara the major scale consists of 7 notes, for example in the key of C: C,D,E,F,G,A,B before repeating itself.
Notes 8 and 10 in the scale would refer to the same notes as 1 and 3 as they repeat. Since major chords consist of the 1, 3 and 5 you wouldn’t be “adding anything”. Just simply making a major chord so they wouldn’t apply.
Hope this helps!
7:41 Who else heard Roundabout beginning?
Oh hell yes!
i heard "Something" when you were at 4 minute explanation of A TO A MAJ7TH-A 7 TH (even though it was in C)
I see Gerard Way
Yeah man... the dish soap... I feel you. Although in my opinion a dominant 7 chord at the end of a song is pretty cool. I wouldn't use it to end a chord progression but if you end a song with it, it kinda leaves suspense I guess and keeps you waiting for something that won't come. I like it. Borrowing your lexicon: It's begging to go home, but it can't.
Man your vids are just great.
Thanks so much man, you're tantalizing the people with that dom7 resolution!
Hey Sean! thanks again man, great content as always...
At 4:35 and at 5:40, you said the A7 and the C7 were begging to be resolved in D and F, respectively. However D and F are the *4th* notes of A and C, respectively, so I'm not quite sure why you said "the one chord" on both occasions.
Well the thing to remember is that if you're staying within the notes of one key, the dominant 7 chord only happens on the 5th note of a key, so with A, you'd have to plug A into the 5th spot and count back to D as one, even though D is also in the key of A as the 4th. Unless you're playing a blues thing where you're using a bunch of dom 7th chords, that always gives you a clue as to which note is 5 and which is 1. Hope that helps!
Gotcha! Right, cause if you take the A and the C as your "ones," the dominant 7 of those are not in the key....Thanks!
@@EstebanTalero99
No. When he played the A7 and said it resolved to D (as the #1 note or chord) he meant that he was in the Key of D Major, where A is the #5 note (chord). As we all know the #5 note or chord, specially when played as a Major 7, will resolve beautifully to the #1 chord.
Likewise, the C7 is the #5 note in the Key of F Major, therefore after playing C as your #5, it will naturally want to resolve to the #1 note which is C.
Can you replace all major chords with augmented chords or is it just used in harmonic major it is used? And when do you use major minor chords or minor major chords(dont remember the order)
I mean you 'can' but all augmented chords doesn't totally 'work'. Personally I kind think augmented chords sound good on the 3rd degree of any key. So like E augmented in the key of C.
Anyone who can understand this lesson doesn't need this lesson
Like for the intro!!!
Haha, thanks!
What about cadences? Imperfect, perfect, plagal and deceptive? Of the last point you made, these would have some relevance. Cheers for the lesson
to me the major seventh chord has always sounded minor. in fact the major seventh chord is the same as playing the three minor with the root of the scale in the bass.
That's what makes it so great!
I only subscribe to the best couple other Aces Paul Davids. Uncle Ben Eller Now You. If you are like me I need No BS. This is the guy
I appreciate you watching Bob!
6:22 "If you take the 7th note away from...:
Don't you mean, "If you add the 7th note"?
I'm confused.
I think I meant if you 'take' the 7th note from the g major scale, not to 'take away' a 7th note. I was trying to show how you grab the 7th note in a major scale to make a major 7 chord I think. Thanks for watching!
Sean Daniel hey man, thanks for helping me understand and Master my Art.
The better I can do that the more I can help bring people from sickness to health, and from health to Excellence.
The greater, and more accurate one's understanding, the greater one's ability to do that, should that be their desire for, and approach to, their Art.
Which it is for me. :)
It confused me the first time someone told me to play a dominate 7 chord.
I asked what is that? And they played like a D7. And I'm like " Why didn't you just say D7?"
Still my question lol. Why not just say D7?
10:42 were those minor chords? I tried them and counted the notes and they were not minor, or were they... can someone explain plez
Watch the root note...
100 thousand subs!!!! I think dish soap works excellent in the shower but I may have to reexamine this practice.
I wouldn't say 'excellent' but it did the job that day.
I’m familiar with the major scale and how chords are described from it, for example (gonna use All D chords for this) D5 is a D and it’s fifth. If the 7 of the major scale is 1/2 step behind the root/octave, then why is a major 7 chord not notated as D7 and a dominant 7 not notated as D Min7. I don’t understand why you have to specify Maj7, when it’s actually the 7th of the scale. In my mind, it seems a maj7 should just be notated as (D)7.
Btw, I enjoy your videos! Thanks a ton and keep it up... Any help with the above (supposed to have been a question, although it’s more of a comment) would be much appreciated
Yeah I agree. I don't get why a dominant 7 chord gets the nice abbreviation. Don't have a good answer for this tbh.
Thanks for the reply
@4:40 was a 4 chord
Thanks Sean, this was a great video, really helpful. Just one quick question - why is that when resolving from either dominant 7 or minor 7 you seem to resolve to the major chord... the Beatles song Something is a case in point, where at different points they use A minor maj7 to minor 7 to D, and then later Amaj7 to dominant 7 to D. Both sound great though
+Stuart McClean You're definitely right, you can also resolve to minor chords but I've been using the major ones as an example because they're a little more prevalent.
This would be worth a legacy. I am glad that it is not and there will be more great videos like this one.
Thanks so much! I'll keep em coming!