Dominant 7th Chords
So let's talk about this dominant seventh chord a little bit, the one that we abbreviate by just using the number seven. But this is another one of those tendency cords and this kind of the same one, I believe. Earlier I talked about attendance record really quick and in passing, being this five core, having a push back to the one chord. And it's one of those cases where ah, core progression wants to feel a certain way. It wants to go home in a way. And that 57 chord wants to go home more than anything else we've got. So let me show you an example. It's get rid of these. Thats use tonic, chord, a 57 chord and let's reverse him, actually. Okay, so now I've got 51 I just want you to hear this and feel how when we hear this 57 chord and then we go to a tonic triad, it just feels like this Cord wants to go to that court, so just listen. So this is a very important concept. That 57 chord wants to go to the tonic chord because we like these relationships of fifths That's a sound we like. And...
that seventh corps adding the seventh to that five chord makes it even stronger without it. It still has a feeling of wanting to go to the one chord. But when we add that seventh, it really wants to go back to the one chord because that's its resolution So more on this later. But basically what a resolution is is it is where Accord wants to go. So this cord wants to go toe one. No other chords in our diatonic progression want have such a strong resolution as this. There's an old story that, um, Mozarts dad used to wake him up in the morning by doing this. By doing this, he would just play a whole bunch of 57 chords, and then he would not resolve them. He would not play the next tonic chord, right, which feel, and then Mozart would run downstairs and play the tonic chord so that this is how this is what he would do. And then Mozart would run downstairs and go because it just feels like that has to be done right. That is a resolution. It's a feeling of that's got to come next. Now that doesn't mean you always have to do that by any means. That means that that's what's expected. Um, if you're working completely in a key, that's what's expected. Ah, but you don't have to do that. Ah, you can change things up. You can throw a curveball in there, and that's what makes interesting music. But you should know that's what is expected. That cord, that 57 chord wants to go to that one chord like nobody's business. Now, we have a very strong history of this. You've probably heard a 1,000, different. Well, maybe not a 1,000,000. But you've probably heard some kind of orchestra thing before where the ending felt really drawn out where I was just going like, bum bum, bum, bum, bum, bum bum forever. And it just felt like, Okay, when are they gonna end it? Um, what they were doing there was alternating between 57 chords and one cords going 51515 1515 They do that forever. Um, that's how you end a big our long symphony is you just alternate between 51 over and over and over and over. And that gives you that sound. Ah, let me show you an example. Here. Um, I didn't want to play any classical music in this in this class, but ah, I just can't resist right here. So let's Let's let me show you some Beethoven here and I'm going to write on the screen all the five ones. Ah!