I'm Adam Manus, and you're listening to the you'll hear of podcast.

Daily Jazz advice coming at you, coming at you solo today because Peter's in Europe and I'm here in St. Louis.

I think he's going to be checking in a little bit next week with his own versions on the road

of the You'll Hear It podcast. But this week I'm going to take the helm at the piano with some

solo versions and I want to do something a little bit different. I want to do a brief series of basic jazz theory called How Does That Work?

And today is our first edition, and this will be all about altered dominant chords.

How does that work?

I want to tell you.

So alter dominant chord might be something that a term that you've heard before.

Maybe you know all about them.

If so, you can press next to the next one.

But if you want a refresher on them

and how to use them and how to create them,

you're at the right place.

So well, let's start with what is a dominant chord.

So a dominant chord is a seventh chord. So if we're in the key of C, you would see C7.

It's that sound.

Now we call these dominant chords because they usually lead to the tonic, right?

They're kind of the second strongest chord in any given key,

and they resolve just beautifully to the one

of a key whether that's major or minor uh so a dominant seventh chord is is built off of the root

of the fifth degree of the ionian scale for instance in the major key so if we're in the key of f it's c e g the major key. So if we're in the key of F, it's C, E, G, and then B flat, right?

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