What is the Dominant 7 Arpeggio? Why you Should Practice It!

[@PianistAcademy1]

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[@rebanelson607]

So glad to find this channel!

[@PianistAcademy1]

Thanks for watching, Reba!

[@rogercarroll2551]

Great advice !

[@PianistAcademy1]

Thanks, Roger!

[@aBachwardsfellow]

I realize this goes a bit beyond the dominant 7th, but I have a few favorite routines for 7th chords. One is to play in parallel octaves a major 7th (major triad, major 7th) ascending (C E G B C E G B C), a "dominant" 7th (major triad, minor 7th) descending (C Bb G E C Bb G E C), then a full diminished 7th (diminished triad, diminished 7th) ascending and descending (C Eb Gb A C Eb Gb A C A Gb Eb C Eb Gb A C, then go up a half step and repeat starting with C# and continuing through all 12 keys. I then repeat with what I call a "cat-and-mouse" variation (since the hands are chasing each other) For C major for example, I start with the RH 2nd finger on E a 10th above the LH 5th finger on C; play the arpeggio in parallel motion for 2 - 4 octaves using the same fingering for the C arpeggio. When the RH 5th finger reaches the top C the RH turns around and heads back down while the LH is still coming up to it's thumb on the top C; then the LH turns around and goes back so that both hands are now in approximately parallel 6ths. The RH reaches its bottom C first and turns around to go back up while the LH is heading down to its bottom C, then turns around; repeat/continue. So when ascending the hands are in approximate 10ths, and when descending they're in approximate 6ths. Then switch it so the LH is starting with 4th finger on the E and the RH is staring with the thumb on C - ascending in approximate 6ths. This time the LH reaches its top C first and turns around while the RH is going up to its top C; then the RH turns around and heads back down now in approximate 10ths - the reverse of the first way. This seems to help the brain to program each hand better so that they're more fluid, automatic and synced when playing in parallel octaves - :-) Another favorite is to play various 7th chords starting on the same note. For example: C E G B C - C major triad, major 7th C E G Bb C - C major triad, minor 7th (dominant) C Eb G Bb C - C minor triad, minor 7th C Eb Gb A C - C diminished triad, diminished 7th C Eb Gb Ab C - Ab major triad, minor 7th (dominant) C Eb F A C - F major triad, minor 7th (dominant) C D F# A C - D major triad, minor 7th (dominant)

[@PianistAcademy1]

All very very good recommendations. Thanks for sharing and taking the time to write them out in such detail!

[@JoeLinux2000]

It's important to know that the G7 actually belongs to the key of C, the C7 belongs to F, and the F7 belongs to the key of Bb. Other points of interest is that your triad is composed of major 3rd with a minor 3rd on top. The most significant interval in dominant 7ths is the tritone which actually splits the octave. Tritones resolve inward to a major 3rd. This is all aside from the benefit you suggest a person gets by practicing these four note arpeggios. I like they way you build very interesting variations of this type of arpeggio in your very well crafted arrangements. Your arrangements are fun to work on because they sound good even when played slowly.

[@PianistAcademy1]

Yes, that is true and definitely important in the establishment of theory! I thought it was too cumbersome to get into key relationships and the tritone in a video about intermediate technical practice, so I had to cut those theory bits and either trust that the viewer knows this already, or will learn at some point. Great that you have brought them up in the comments for people to read, because they are 100% correct! Isn't it amazing just how much one word, in this case 'dominant,' defines SO much in terms of chord structure, function, resolution, and even pacing (if you refer to something like Schenkerian analysis).

[@JoeLinux2000]

@@PianistAcademy1 Working on these exercises this morning, I notice it is much easier to start on the C7 and F7 than on the G7 as with the first two your fourth finger is on a black key which makes it easier than playing exclusively on the white keys. Once you get to Bb7, the thumb starts on a black key which makes "the grip" different again. In all cases the left hand is considerably different from the right hand. I just added the theory into the comments so you don't have to bog down the video with excessive information as your discussion is really about exercising the fingers. However, it is interesting to note that it is the 3rd and 7th of the dominant chord that defines the key or tonality. In your arrangement of Schinder's List you make interesting use of a similar chord pattern that is actually a descending e-mi7 b5 that eventually leads to a-mi by way of a somewhat polytonal chord with an augmented quality. I've mentioned several times that I find your writing to be very interesting. This cadencial progression to resolution would be an example.

[@PianistAcademy1]

@@JoeLinux2000 I appreciate you diving so deeply into my arrangements. Harmony and chord voicings are some of my favorite things to explore. You make an interesting point about C7 and F7 begin easier than G7. I might argue that the ease of any of them depends more on the individual and their own hand shape, finger length, and proclivities. There are good reasons for the C7 and F7 to be "easier" for some: the flat makes the entire chord smaller, with F7 feeling the 'smallest' of the three despite the similar shape. However, playing C7 and F7 well must include quite a bit of flexibility and motion in the wrist and arm, different positions ascending and descending, as well as motion forward and backward, to and from the fallboard. In a sense, that extra motion makes them more complex to play well than the G7, even though the 'stretch' in the G7 is larger. It is true that each keys presents its own challenge and need for slightly different technique, the most difficult dominant 7s in my opinion being Db7 and Gb7. One of my next videos is going to tackle a bit about this, but in relation to scales once again.

[@NipponKiwi]

You are smart 🧠💡!

[@lawrencetaylor4101]

Merci for this. I will ask my daughter about doing the video for the upper extremity. I discovered a new way of self-treatment for the shoulder, especially the subscapular muscle. I showed this to one patient last week and he came in yesterday, and his shoulder was much better. My treatment for his shoulder was much better. His shoulder blade is a tenth wide and my hand is barely an octave, so I've always had a problem treating his shoulder. But it gave me finger strength. When I started the piano 2 months ago, I had no problem with the strength in the fingers but the coordination was frustrating. Another piano channel suggested a Zoom call, which is possible but I'd rather have a video. My daughter is busy making her own film and so I have to respect her time.

[@PianistAcademy1]

So in particular, are you interesting in hearing more about coordination between the hands? And do you have any specific examples you can share?

[@edwardhoppe4294]

I practice major and minor 7ths, dom 7ths and dom 6ths daily - in that order. Now that I think about that's completely backwards - I'm going from hardest to easiest. Another good practice exercise is playing a dominant 6th arpeggio then an added 9th, and just keep repeating. Those two chords sound great together and it's a good exercise for developing dexterity.

[@PianistAcademy1]

By dominant 6 do you mean... in C Major... G, B, D, E? I've never practiced arpeggios with 6ths, except playing in inversions!

[@ValkyRiver]

A lot of the time, I would use finger 5 in some seventh chord arpeggios, such as Emaj7.

[@PianistAcademy1]

If you've already used the 5th finger, how would you play the last note of the arpeggio without moving the whole hand? Liszt, especially, made using 5 in arpeggios more common, but that hand formation usually doesn't work very well in any composer's music other than his, and especially earlier composers.

[@ValkyRiver]

@@PianistAcademy1 I use 4 only for the last octave, where I don’t need to switch to thumb.

[@PianistAcademy1]

You can see all of the most important takeaways in the description! Here is the first one: Takeaway #1 - Practicing dominant 7 arpeggios give your hands an instant "workout" for the 4th finger! The 4th finger is usually a finger that needs extra work to make it as strong as our strongest fingers! (1st, 2nd, and 3rd fingers)! Don't miss the FREE downloadable PDF in the description as well!

[@lawrencetaylor4101]

I watched this again, and I'm not yet an intermediate player but I've made progress. My video is finally up on You Tube. Oh My Aching Bach. Low back exercises take 30 seconds, but should be done each day. And there are techniques for treating the shoulder and hands, great for finger strength.

[@PianistAcademy1]

Thanks for revisiting so many of my videos, Lawrence! Can you leave a link to your video here? When I search for your channel or the video I can't seem to find it!

[@lawrencetaylor4101]

@@PianistAcademy1 Here it is, sometimes You Tube doesn't like people living links in the comments section. If it's blocked, I'll send you a mail. That's funny that you can't find it. I know I'm hidden on twitter since Ive been fighting for the climate and against Big Oil, and I did put out some climate videos several years ago. Maybe the shadowban is continuing? kzbin.info/www/bejne/qnycpJZmmNCGptk

[@PianistAcademy1]

@@lawrencetaylor4101 Thanks for the link! I will watch soon!

[@johnhancock8463]

Thank you

[@PianistAcademy1]

Thanks for checking out more videos on the channel, John!

[@NipponKiwi]

Great Video 🎥 Mr Charles! I Learnt Heaps💡🧠! MPGA (Make 🇬🇧 Piano 🇺🇸 Great 🇦🇫 Again 🇫🇷!) From New Zealand

[@PianistAcademy1]

Love it, thanks Ross! Hello from Colorado, USA!

[@simonachkar]

Thanks for the video, I really appreciate it if sometime in the future you make a video about this but for the left hand. Because the arpeggio for the dom7 with the left hand starts with 5 and 4 (weak fingers) with my right hand I could do dom7 arps with no problem. But with LH, when I’m stretching 5 and 4 (root to third and when descending third to root) it’s quite a stretch! What I found challenging as well with LH is Dom7 chords where the 3rd is a black note. Any advice? Sorry for the long comment, thank you in advance.

[@PianistAcademy1]

Simon, thanks for watching! Sounds like you need a little "stretching" exercise for LH specifically to make that 3rd more comfortable. Try this, and hopefully you can follow via text only: Note pattern: C, C, C, D, C, E, C, F, C, E, C, D, C Fingers used: 5, 4, 5, 4, 5, 4, 5, 4, 5, 4, 5, 4, 5 We are basically building a larger interval stretch between 4 and 5, one half or whole step at a time. Try to do this exercise with relatively minimal lateral wrist movement because we want the focus to be on a slight stretch between 4 and 5... it culminates with the stretch of a 4th for a very short period before returning to smaller intervals. Feel free to change the pattern of notes to follow any key or scale you'd like, to incorporate white to black, black to white, and black to black key movement. A few minutes per day, give it a month, and you should start to feel that the 5-4 stretch across a 3rd is much more doable.

[@simonachkar]

Wow thank you so much! Yes your instructions are very clear I can already picture it! Can’t wait to hit that F haha 😆 I really appreciate that you took the time to respond and write this! 🫡

[@simonachkar]

Hiii I’d like to thank you so much for this exercise! It WORKED! WOW it feels like my left hand got an upgrade!!!! 🤣🤣👏👏😍😍 I’m so happy thank you!

[@jake_ams]

Wonderful explanation! May I ask I can not find anything to maj7 arpeggios somewhere - is there also a tutorial? Best 🙏🍀

[@PianistAcademy1]

Jake, thanks for watching! I don't have anything on Maj7 arpeggios here on the channel, but if you have any questions about them, I'd encourage you to join my livestream tomorrow (10am MT, USA) because the entire stream is open to questions! It would be the perfect spot to do any demonstration about a particular arpeggio question you might have.

[@alisonduffy6206]

Hi Charles, why is this called the DOMINANT 7th, when the dominant is the 5th note of the scale?

[@PianistAcademy1]

Hey Alison! All chords in music follow three "functions:" Tonic, Subdominant, and Dominant. They are most often introduced as the I chord (lets say, C Major triad in the key of C) is Tonic, the IV chord (F Major triad in the key of C) is Subdominant, and the V Chord (G Major triad in the key of C) is Dominant. There are more chords out there, but these are the most important 3 to start with. This is where it starts to get confusing... Each scale degree (individual note) has a letter name, a number name, and also a 'term' that describes it. In C Major: C is 1 and is also Tonic. F is 4 and is also Subdominant. G is 5 and is also Dominant. So in one sense, yes, the 5th tone of a scale is the "dominant" tone. BUT... Dominant is more often used to describe the function of a chord: chords that pull heavily back to "home" or Tonic. In C Major, a G Major chord and especially a G7 "want" to go home to C, or you could say they "lead" us home to C. Now for the last confusing bit... this pull back toward the home or tonic chord mostly comes from the "leading tone" of the scale being present in the Dominant Chord. The leading tone in C is B natural. Your G Major chord has a B natural in it. That B is the note that is really creating the Dominant function and the pull home to C. Summing up all of that Dominant chords are built on the 5th scale degree and they contain the leading tone of the key, which pulls us back to Tonic or I. They are called Dominant 7s when an extra 7th gets added to your basic triad. So if the G triad is G, B, D... adding the 7th would yield F. G, B, D, F is a G7 (or G Dominant 7) AS LONG AS it's in the key of C. That all is very confusing, I realize! But hopefully you can go through one point at a time and learn it slowly!

[@alisonduffy6206]

@@PianistAcademy1 Thanks so much for taking the time to explain all that! So a chord or arpeggio is called a dominant when the minor 7th gets added? I've just found Pianist Academy and love the way you make theory interesting with your enthusiasm. Cheers Charles

[@PianistAcademy1]

@@alisonduffy6206 Yes, adding the minor 7th basically makes it a dominant chord "shape." If that chord then resolves to the tonic, the I chord, home, then it's also "functioning" as the dominant.

[@rebanelson607]

@@PianistAcademy1 Thanks for that excellent explanation!! I developed a dislike for dominant 7th chords many (many!) years ago while trying to learn to play guitar. I wanted to play classical guitar but the only books available had basic chord blocks, which were NOT the sound I wanted. This exercise is fun to play, especially with the turns.

[@PianistAcademy1]

@@rebanelson607 Great! Did you also download the extra worksheet? There's a "bonus" exercise on there that combines turns with also practicing the arpeggio in inversions!