[MUSIC] Well, before I share with you the information that goes with MOOC two, I'd like to do a review of MOOC one. Now, it will be a quick one, but nonetheless, still a review. The first thing we talked about a MOOC one was the major scale. Understanding that the major scale is the key ingredient. It allows you to be able to do just about anything and understand just about anything when it comes to harmony. Major scale, every major scale is constructed the same way, regardless of what note you start on. We started with C major. [SOUND] Major scale is constructed. Whole step, whole step, half step, whole step, whole step, whole step, half step. [MUSIC] Remember, whole step is just two steps [SOUND] that makes up a whole step. Half step is [SOUND] one step. Okay? Remember the little song we had today? [MUSIC] Whole step, whole step, half step. Whole step, whole step, whole step, half step. [MUSIC] Whole step, whole step, half step. Whole step, whole step, whole step, half step. [MUSIC] The major scale. After the major scale, we talked about building a chord. The first chord we dealt with was the major triad. A major triad consists of the root, the third of the major scale and the fifth of the major scale. C major triad [SOUND] base step, try it on F, we have F, A, C, F major triad. [MUSIC] For basic on G. Start with G, B, D, G major triad. All these are major triads, the root, the third, and the fifth. [MUSIC] The major triad. [MUSIC] Next, we learned the minor triad. Now, the minor triad has the root, you take the third and you flat it. And then you have the fifth again. The minor triad. [MUSIC] If I wanted to, I can invert it. That's where you take the note that's on the bottom and put it on top. It's the same chord, but it's just inverted. The same thing again. It's all C minor triad. F minor triad. F third, flat it, fifth. F minor triad. The minor triad. Next, we learn the major seventh chord. The major seventh chord is basically a major triad [SOUND] with the seventh on top. That's the seventh degree of the scale. And if you notice, the seventh degree is always a half step down from the root of the chord. So you have the root, the third, the fifth, the seventh. And here is the root again. That's your major seventh chord. [SOUND] C major seven. If I did this trial based upon F, we have F, A, C, E. [SOUND] F major seven chord. [SOUND] C major seven chord, F major seven chord, the major seventh chord. Next was the dominant seventh chord. Now, the dominant seventh chord you have, once again, [SOUND] the major triad with a flat seven on top. This is the seventh, you flat it. That would be your dominant seventh cord. [MUSIC] You hear a lot of dominant seventh cords in blues progressions. One, three, five, flat seven, the dominant seven. If I was started on the key of F [SOUND] you have F, A, C, that's your triad, that's your major seventh, flat to seventh, of course. You have the dominant seventh. [MUSIC] C7. [MUSIC] F7. C7. [MUSIC] F7. [MUSIC] The dominant seventh chord. Next is the minor seventh chord. The minor seventh chord is interesting, because it starts with the minor triad. One flat three five. And then you have the flat seven again, so then you have this sound. [MUSIC] C minor seven cord. If I did it based on F, we have [MUSIC]. F, A flat, C, that's your minor triad with the flat seven on top. [MUSIC] C minor seven. [MUSIC] F minor seven. [MUSIC] The minor seventh cord, we also talked about voicing the seventh cord a little bit differently. For instance, this is your major seventh cord. What we can do is take the root and put it down here. And take it away at the top. Then we take our seventh and put it at the bottom, and you have the root and the base, then 735. I like to call it the 735 voice in. Slightly different sound, but still the same chord. This is its major seventh chord root position. This is what that 735 voice in. [SOUND] A little more pleasant. Because the seventh is not at the top of the chord. When the seven is at the top of the chord, you might hear, feel a little more tension because the root is right there. But if you put it at the bottom, a little smoother, a little more mellower. [MUSIC] The same thing with F major seventh. Root position, take the root and put it in the bottom. Take the seventh and put it at the bottom of the chord there, and you have 735, so we have C major, F major. [MUSIC] You may be wondering why I choose to go C and F, because you'll hear that a lot in songs. The one chord, which is your tonic, your homebase, to the four chord. [SOUND] Which we call sub dominant, we'll talk a little bit about it later. But this is the four chord. [SOUND] One chord. [SOUND] Four chord. 735 voicing of the major seven chord. We can also do it with the dominant seventh chord. That's the major. The difference between a major seven chord and a dominant seven chord is your flat to seven. So now you have C dominant chord. Same thing with F. Two major seven, 735 voicing. Make it a dominant seven, flat to seven. [SOUND] So we now we have C7. [MUSIC] F7. [MUSIC] C7. [MUSIC] F7. [MUSIC] That was a little extra I added. It comes free with the class. No extra charge for that. I've done, I basically did an inversion [MUSIC] Okay, dominant seventh. Do the same thing with minor seventh. Flat seven, flat three and five. That's your minor seven chord at the base. We'll position 1, flat three, five, flat seven. Take the root, put it down here. Seven, put it there, minor seven, 735 voicing. Same thing with F minor seven, flat seven, flat three and five. [MUSIC] Do a little inversion there. [MUSIC] Those are inversions of the seventh chord. 735 voicing. Another topic that we learned in developing your musicianship one was the minor pentatonic scale. Now, you know when you heard the word pentatonic, there is probably five milts involved. Penta, five. [SOUND] The minor pentatonic scale structured like this, one flat three, four, five, flat seven. One, flat three, four, five, flat seven. And we even had a little song to it where we went, one, flat three, four, five, flat seven, one. One, flat three four, five, five, seven, one. One flat, three, four. Five, flat seven, one. One flat, three, four. Five flat, seven, one. The minor pentatonic scale. And if you took that class, you know you use that scale to base your melody off that you wrote for your blues progression. I'm sure a lot of you guys had fun with that one. I know I enjoyed listening to a number of them. As I just mentioned earlier, the blues progression was your final project. And that's where we took basically dominant chords, the one chord. The four chord. [SOUND] And the five chord. And we put them in a progression. So you see the progression right there before you. One chord. One chord again. One chord. One chord again. And four chord. [MUSIC] Back to the one chord. [MUSIC] Five chord, the four chord, one chord. [MUSIC] And they're all dominant chords, hear this again. [MUSIC] The blues progressions. So those were just some of the things that we studied. In developing your musicianship one. Please keep them in mind, keep practicing, because you're sure to hear from them again when we do developing a musicianship two.
