So what's going on with dominant 7 harmonies? We've looked at major chords and minor chords and now, let's look at these dominant 7 situations. It starts off being very similar to the major harmonies, in that it's the 4th of the scale that we're interested in. In the case of the [MUSIC] the Mixolydian scale, it is a natural 4. And with a raised 4 [MUSIC] it's called a Lydian flat 7. These are the scales we looked at last week. So that may be all you need to. Determine when you look at your piece of music that it's maybe obvious that it's either the mixo or the lydian flat seven. Just depending on whether it's a natural four or a raised four. In addition, we also need to ask a question on dominant seven chords which is. Are there any altered notes? Now remember last week we talked about the altered scale including the flat 9, the sharp 9, the sharp 11, and the flat 13. Those are altered notes. And if you see altered notes in your melody on your dominant 7 chord, or they are indicated by the, the preceding harmony. Then that moves your dominant 7 chord into the world of the altered let's say, and it's going to take one of the altered scales in order to to be the right choice. So there are two if you remember from last week that are closely related. I call them cousins, there's the [MUSIC] altered scale, and there's the symmetrical diminished. The bottom half of the scale is the same for both altered and symmetrical diminished, and the only difference being that instead of a flat 13 [MUSIC] on the altered, it's the natural six on the, on the symmetrical diminished. So now let's look at some examples. Here's, first an example where there's, clearly an F sharp in the melody of this C7 and it, that tells us it's going to be a Lydian flat seven. That also, I don't don't see any altered notes either. So, Lydian flat 7 is the right chord scale for this first example. Now, we see an example that calls for the altered scale. We see, [MUSIC]. We see altered notes in the scale. In the melody. And that's the, [MUSIC] the logical scale. Now I'll give you a second example and just remind you of something that we covered last week. You'll notice in the second example there is a natural five in this altered scale. Remember this is the hidden note, secret note, that's in the altered scale. It's not officially there, but it works. It doesn't clash with the scale at all and it occurs a lot in melodies on altered harmonies. So don't let it throw you off. If you see a natural five, don't jump to the conclusion and say, well, it can't be altered because it's not in that scale. It is. Think of it as being part of the altered scale. And in this example we're looking at now, you'll see there's a G natural in the melody but it's still got altered notes. It is an altered scale that's being called for. Finally, here's an example that calls for the symmetrical diminished scale. In this case, there's an A natural. Called for in the melody [MUSIC]. So, instead of the flat 13 [MUSIC] of the altered scale, we get the symmetrical diminished. the altered scale occurs much more often in tunes than the symmetrical diminished does. So, your first guess usually is, if it's in the altered family, start with the altered scale. And then if you have a moment to look further or the next course then it comes up again. Take a look at the sixth and see if it's natural or flatted to make sure you've got the right choice. But altered occurs far more often. Now, let me once again explain that this is meant to be a fast moving process. We want to do this, you know, in time with the music. so we don't have a lot of time to stop and think. It takes me, I don't know, 10, 20 seconds to verbalize the steps in the process as I describe it to you, each chord that we've talked about here today. But in fact, once you're used to doing it. It happens almost instantaneously. Your eyes see the note you are looking for and you start to play. It's a very quick reaction. So don't, you know, get hung up feeling like you have to sit down and study this over and over again. The more you do it, the more tunes you learn the faster this will become, until you do it pretty much automatically. And that's what we're looking for, that's the goal.
