I WAS REFERING TO THE ACTUAL SCALE OF THE CHORD I AM PLAYING!
EX.
IF I PLAY A CMAJOR7, IT COULD BE WITH THE MAJOR7 OR FLATTED 7 RIGHT?
SO I CALL THE FLATTED 7 THE DOMINANT, AND THE MAJOR 7 THE SUBDOMINANT!
SOOOOOOOOOO
IF I AM DESCRIBING HOW TO PLAY THIS CHORD, SAY LIKE THE FIRST CHORD, I AM TRYING TO GIVE YA A BASIC THEORECTICAL WAY OF UNDERSTANDING IT, NUMERICALLY! AND HELP YOU TO GET THE SOUND I GET WHEN I PLAY IT!
THEY ARE ALL MAJOR SEVENTH CHORDS! AND I AM REALLY NOT DOING ANYTHING DIFFERENT FROM WHAT YOU WOULD DO IF YOU JUST PLAYED THESE CHORDS IN ANOTHER WAY!....FOR INSTANCE!
CG/BE - IS REALLY; C/GBCE
BUT THEN I TELL YOU TO DROP FROM THE SUB DOM 7 ( B ) TO YOUR 6...IT WONT SOUND LIKE I WANT IT TO SOUND IF YOU DO IT LIKE THE SECOND WAY I WROTE IT!
SO PLAY IT LIKE THE FIRST WAY, AND DROP TO THE 6, AND YOU WILL GET THE EFFECT I WANT YOU TO HEAR!
NOW I AM TELLING YOU, THAT ANYTIME YOU'RE ON A MAJOR OR SUPPOSED TO BE PLAYED MAJOR, LIKE A 4, 5, 1 CHORD, YOU CAN USE THIS THEORY OF UNDERSTANDING!
NOW ON THE MINOR JUST USE THE FLATTED 7 ( DOMINANT 7 ) FROM THE START! WHICH IS NORMAL!
ON THE MAJOR CHORDS, YOU USE YOUR MAJOR 3RD, AND YOUR MAJOR OR FLATTED 7
ON A MINOR, YOU USE YOUR MINOR 3RD, AND YOUR FLATTED 7.....BUT FOR TALKING TIMES, AND SOFT TIMES, DO IT LIKE I POSTED IT, AND YOU'LL BE BLESSED I AM SURE! SIMPLE BUT EFFECTIVE!
AND I WILL DO A MIDI OF THIS AS WELL!