I'm Adam Aniston, you're listening to the You'll Hear at podcast.

Today, we're going to do an exercise that we've been doing over on Open Studio Pro for the last several weeks,

and it's actually something that's kind of tied to my brand new course at Open Studio Jazz Scales for Beginners.

It is an exercise that unveils the brilliance of diatonic seventh chords and their secondary dominance and their tritone subs. That's a mouthful,

but it's actually a pretty simple process here. And what it does is it helps us to answer the question,

what scale goes with what chord? So all we need to know is what key is the cadence that we're

playing in, right? What tune is, is, are we playing? And what key is the tune we're

playing in? Those are very helpful questions to ask ourselves. And we can usually answer them, um,

with the diatonic seventh chords, their secondary dominance and their tritone subs. It gets us like

90% of the way through a lot of functional harmony standards.

So what am I talking about when I talk about diatonic seventh chords and their secondary

dominance and their tritone subs? I'm literally talking about if we take the C major scale,

that old chestnut, you ever heard of it? And we make a seventh chord out of this scale by

playing our root and then skipping a note all the way up so that we have four notes

c e g and b right we have a c major seven chord and then if we move all of these notes up the C major scale,

the next chord that we get here is a D minor seven chord, right? And this is called the Dorian mode.

It's based off the Dorian scale, D to D in the key of C, all white keys, right? If we do this again,

we get an E minor seven chord, but it's a different scale that we use, right? It's the Phrygian scale, E to E. And you're like, well, I know the modes, Adam. Why is this important? Because what we learn when we do this is that if we're in the key of C and we see an E minor, our first thought might not be Dorian. It might not be what you think.

I hear a lot of beginner and intermediate players. Whenever they see a minor seven chord or play a minor

seven chord, it's always Dorian. If you're in the K of C and you play an E minor seven, which is the

three, why not play a Phrygian? It sounds great. It's also what we can build our chord

voicing off of. Of course, the fourth mode and the fourth seventh chord in the key of C is F major

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