MUSIC THEORY 101 Don't Be Afraid :)

[jonesy]

Anybody have any Questions????

[Big_dawg]

erm, yep, but a bit unrelated...

whats the new tele in the avatar...??


Once Ive gone through what youve written properly Im bound to have a few dozen more too...

[jonesy]

That is a Fender MIM Tele that I did an X-treme Relicing job on. My last couple of Tele's were pretty conservative and I decided to go "over the top" on this one. It is waiting on some of Will WB pu's. Got a Hot wound single coil going in the bridge 9.95K and a med. power going into the neck 6.75k, can't wait to hear them???

[Gigan]

heres another noob question, Can C major scale be played in the key of A or D or G or whatever key or does the fact that it is C major denote that it can only be plaed in the key of C? I believe I read that the root determines the key? If that is correct please explain a lil more for me . Thanks so much, Off to Disneyland look forward to your response!

[jonesy]

Originally Posted by Gigan

heres another noob question, Can C major scale be played in the key of A or D or G or whatever key or does the fact that it is C major denote that it can only be plaed in the key of C? I believe I read that the root determines the key? If that is correct please explain a lil more for me . Thanks so much, Off to Disneyland look forward to your response!

Let me see if I got your question right...Yes the C major scale can be played over chords in other keys. That is actually the basis of the mode system. It may not sound how you want it to sound in another key.

What I was trying to show is by taking "One" pattern you can move it around and be able to use it in all 12 keys?? And Yes, the ROOT Note denotes key, not first note in pattern.

[armann]

Originally Posted by Gigan

heres another noob question, Can C major scale be played in the key of A or D or G or whatever key or does the fact that it is C major denote that it can only be plaed in the key of C? I believe I read that the root determines the key? If that is correct please explain a lil more for me . Thanks so much, Off to Disneyland look forward to your response!

If your playing a D minor chord and play a C major scale over that but start the scale on the D note then your playing the D dorian scale.

Another example, if the song is in C and then it goes to the G7 and you
play the C major scale over the G7 but start on the G then your playing G mixolydian.

The modes in order:

1. Ionian
2. Dorian.
3. Phrygian.
4. Lydian.
5. Mixolydian.
6. Aeolian.
7. Locrian.

[jonesy]

THIS IS THE CONDENSED 2 OCTAVE PATTERN THAT I USE FOR THE MAJOR SCALE/IONIAN MODE
NOTED IN G MAJOR, ROOT NOTE ON 6TH STRING...

------------------------------------------------------2----3---
--------------------------------------------3---5---------------------
---------------------------------2--4--5--------------------------------
----------------------2---4---5------------
------------2--3---5----------------------
---3----5-----------------------------

YOU USE WHAT I CALL THE "ONE FINGER PER FRET RULE" TO PLAY THIS SCALE.
BASICALLY EVERY FINGER IS ASSIGNED A FRET AND IT COVERS ONLY THAT FRET. YOU START WITH YOUR SECOND FINGER ON 3RD FRET OF THE 6TH STRING, THEN PINK OR 4TH FINGER PLAYS THE 5TH FRET. WHILE KEEPING 1ST FINGER "ANCHORED" ON THE 2ND FRET OF THE 5TH STRING.
YOU HAVE TO DISCIPLINE YOUR SELF TO USE THE CORRECT FINGERS AND NOT PLAY THIS SCALE HOW EVER YOU FEEL LIKE PLAYING IT. CLASSICAL MUSICIANS TRAIN THIS WAY EVERY DAY.

TIMING.....TECHNIQUE.....TONE

TECHNIQUE:THESE ARE THE 3 MAJOR THINGS TO WORK ON TO BECOME A GOOD GUITARIST. PROPER TECHNIQUE IS CRITICAL. KEEPING YOUR FINGERS WHERE THEY BELONG IS A GOOD START.
ALSO USE ALTERNATE PICKING, DOWN UP DOWN UP, INSTEAD OF JUST DOWN PICKING ENTIRE SCALE.

TIMING: PLAY VERY SLOWLY AS IF YOU WERE IN SLOW MOTION, EVERYONE WANTS TO BE FAST, BUT FAST AND SLOPPY IS NOT GOOD.
LEARN THIS AT A SPEED WHERE YOU CAN PLAY IT PERFECTLY, IF YOU ARE MAKING MISTAKES YOU ARE GOING TO FAST. TAP YOUR FOOT AND PLAY QUARTER NOTES, ONE NOT FOR EVERY TIME YOU TAP YOUR FOOT.

TONE: PRACTICE WITH YOUR TONE FAIRLY CLEAN AND NO FX SO YOU CAN HEAR ALL YOUR MISTAKES. YOU CAN ALWAYS PLAY LATER WITH DISTORTION ON. BUT PRACTICE SOMEWHAT CLEAN, YOU WILL ACTUALLY HERE THE "TONE" COMING FROM YOUR FINGERS THIS WAY.


EXERCISE, FOR THE SERIOUS "GUITARIST"....

------------------------------------------------------
-----------------------------------------------------------------
------------------------2---4---5--4----2------
------------2--3---5------------------------5--3--2--
---3----5---------------------------------------------5----3--

PLAY THIS SCALE SLOWLY ANS SEE IF YOU CAN PLAY IT 3 TIMES IN A ROW WITH OUT MAKING A MISTAKE, IF YOU DO YOU HAVE TO START ALL OVER. ONCE YOU CAN DO THAT, GO FOR 10 TIMES IN A ROW WITHOUT A MISTAKE???

WHEN I WAS SPENDING A LOT OF TIME PRACTICING, I WOULD PLAY THIS SCALE AT 8TH NOTE SPEED, TWICE IN G, THEN MOVE UP 2 FRETS(whole step)TO A PLAY 2X, THEN UP TO EACH DOT ON THE FRET BOARD UNTIL I GOT ALL THE WAY TO 19TH OR 21ST FRET. AND THEN I WOULD COME BACK DOWN THE FRET BOARD UNTIL YOU END UP IN G AGAIN
YOU SHOULD SPEND AT LEAST 15-25 MINS AT THIS IF YOU ARE SERIOUS...

PRESS YOUR FINGERS DOWN HARD TO THE FRETBOARD AND PICK LOUDLY, YOU WANT TO BE ABLE TO HEAR EVERY NOTE CLEARLY. WHEN YOU PLAY FAST AND PRESS DOWN HARD ALL NOTES SHOULD RING OUT CLEARER...

TAKE THIS ONE "PATTERN" MOVE IT IN ALL 12 KEYS, LEARN THE 7 MODES AND YOU HAVE 84 SCALES RIGHT HERE. NO NEED TO EVER LEARN ANOTHER PATTERN IF YOU DID NOT WANT TO. I LIKE TO KEEP THINGS SIMPLE AND BE ABLE TO USE WHAT I KNOW, VERSUS KNOWING ALL KINDS OF SCALES & THINGS, BUT HAVING NO IDEA HOW TO USE THEM ON GUITAR TO MAKE MUSIC.

PRACTICE IS NOT PLAYING, BUT YOU WILL PLAY HOW YOU PRACTICE...

THANKS, JONESY

[Gigan]

Sweet men, making more sense thanks

[jonesy]

Originally Posted by armann

If your playing a D minor chord and play a C major scale over that but start the scale on the D note then your playing the D dorian scale.

Another example, if the song is in C and then it goes to the G7 and you
play the C major scale over the G7 but start on the G then your playing G mixolydian.

The modes in order:

1. Ionian
2. Dorian.
3. Phrygian.
4. Lydian.
5. Mixolydian.
6. Aeolian.
7. Locrian.

Modal Theory made easy...
Nice Post Bro, I kinda favor that Dorian Mode myself...
Thanks, jonesy

[armann]

Thanks

Again great thread Jonesy.

It's fun to start thinking about this again, like everything, if you don't use it you will lose it.

[jonesy]

OVER LAPPING SCALES AND ADDING "SPICE" TO THE PENTATONICS...



I gotta say it has been driving me crazy trying to teach guitar over a computer. Having a guitar fretboard to look at is the best way for me to relate. If I tab out a scale I have to do it 12 times to give you all the keys. If I Teach you a pattern you can move it around to whatever KEY you need to be in.

Solo from ROOT to OCTAVE using the notes in between as "Color" as you explore these scales certain notes will sound GOOD to you. Make a note of them and remember what they are. Other notes will sound BAD, try not to play them and move past them if you need to?

I have written out the 3 scales above old school, so you can see how they all overlap. I use these all the time along with other positions of the Blues scale, and Linear scales, more on that later. ROOT Note and OCTAVES inRED....

Is anybody else out there that is using these patterns, how about a little discussions and input from the rest of you guys out there??

Armann you using any of these for solo or improv???

Thanks & Peace, jonesy

[jonesy]

BREAKING OUT OF THE BOX WITH LINEAR OR "STRING" SCALES...
I use these Linear or what I call " String" Scales to move up and down the fret board from one scale to another. When playing in the Pentatonic Boxes" you will often start to sound repetitive, this is a nice way to "Break Free" and slide around. This is also the best way to see the whole steps and half steps within any given scale, you don't get that from a tab.

This is a great way to add a little "Spice" into those 5 not scales...
ROOT Notes in RED, and Scales are shown ROOT to OCTAVE...

You can Strat these Scales where ever you like, these are just a few examples...If you are in an open tuning these work nice for Melodies played over the Drone Chord.
Peace, jonesy

[armann]

That's cool Jonesy, nice to see a picture like that.

Well I'm mostly playing hard rock so I don't use the modes as much as I would like to
but when I play gigs where they will fit I mostly stick to Dorian and Mixo and if I'm feeling
good maybe some phrygian action

But for "my" music I play mostly minor/major pentatonic, natural minor, harmonic minor.
When I "grow up" I'll Jazz it up a little

Let's just say I know more theory then I use on the guitar hehe.
For me when the whole fretboard came together and when I understood what I was doing
made playing so much more fun on not getting stuck in the "box" but being able to play
let's say Cmaj7 scale anywhere on the neck was and is very liberating.

[armann]

Wiki the modes:

1) Ionian:
Ionian mode - Wikipedia, the free encyclopedia

2) Dorian:
Dorian mode - Wikipedia, the free encyclopedia

3) Phrygian:
Phrygian mode - Wikipedia, the free encyclopedia

4) Lydian:
Lydian mode - Wikipedia, the free encyclopedia

5) Mixolydian:
Mixolydian mode - Wikipedia, the free encyclopedia

6) Aeolian:
Aeolian mode - Wikipedia, the free encyclopedia

7) Locrian:
Locrian mode - Wikipedia, the free encyclopedia

[Big_dawg]

Im still on the quiz on page one, but also reading trough this stuff as its posted. Ive printed this stuff off and am trying to work through it all and take it in. Couple of questions:

- whats a drone chord? Not heard that phrase before.

- and this is whats always put me off theory what makes a mode a mode ( and why the damn silly names?)?! Is it the sound it creates, the position on the fret board or just the shape of it??

[jonesy]

Originally Posted by Big_dawg

Im still on the quiz on page one, but also reading trough this stuff as its posted. Ive printed this stuff off and am trying to work through it all and take it in. Couple of questions:

- whats a drone chord? Not heard that phrase before.

- and this is whats always put me off theory what makes a mode a mode ( and why the damn silly names?)?! Is it the sound it creates, the position on the fret board or just the shape of it??

DRONE:
Nice to hear people are studying this thread. A DRONE note, or chord would be if you were in an open tuning(Regular tuning also), and say with your thumb you just kept the G note or ROOT going on the 5th String(Open G Tuning) and then play a MELODY line on one of the smaller strings, using one of the LINEAR or STRING Scales.
Or you can strum the entire Chord, keeping the ROOT note going while picking a melody line out on just one string...
Droning is Ancient technique goes back to many primitive instruments, also used in Delta Blues. A Drone note can also be any one of the smaller strings played open, and is this is used in Spanish and Classical Music as well(Leyenda Am).

MODES:
Arman just did a couple of nice posts on how to use MODES, also he put up Links to Wikipedia....check it out.
Basically the Modes came from the Greek tribes, this is where the basis of our music theory started. The Major scale is the Ionian Mode, it is one of 7 MODES. Within it are 6 variations that form the other 6 MODES. Don't worry if you don't understand MODES now. Concentrate on the Chromatic scale, Intervals, Root, Octave 1 4 5 etc. and Modes will make sense on down the road....
ROCK ON!!!

[jonesy]

WHOLE STEPS AND HAVE STEPS ARE WHY IT SOUNDS LIKE IT DOES....

Chromatic Scale
A A# B C C# D D# E F F# G G# A A# B C C# D D# E F F# G G# A

MODAL THEORY, DON"T BE AFRAID, IT'S ONLY WHOLE STEPS AND HALF STEPS...

Ionian pattern
............C......D...... E.F......G.....A......B.C......D......E.F.....G... .A

If we start on C as the ROOT and go to C the Otcave
C to C is the Ionian Scale/Mode, look at the whole step half steps

If we start on D as the ROOT and go to D the Octave
D to D is the Dorian Mode look at the whole step half steps

If we start on E as the ROOT and go to E the Octave
E to E is the Phrygian Mode look at the whole steps and half steps

Each MODE gives you another whole step, half step variation of the Major or Ionian Scale resulting in a Different SOUND or TONALITY...

Hope this helps clear up a few things about the MODES, it is really that simple...

[pneumaniatic]

Thanks for putting this together
I just discovered this thread, and I must say, this is the most helpful guide to theory that I have come across on the internet. I just started getting into the theory side of guitar playing after mostly learning songs from tabs and this thread is more helpful than all the dozens of articles I've found from searching the internet combined. now, to sit down and digest everything...

[jonesy]

Originally Posted by pneumaniatic

Thanks for putting this together
I just discovered this thread, and I must say, this is the most helpful guide to theory that I have come across on the internet. I just started getting into the theory side of guitar playing after mostly learning songs from tabs and this thread is more helpful than all the dozens of articles I've found from searching the internet combined. now, to sit down and digest everything...

Thanks man I really appreciate that, I know a lot of people tell me their is just to much stuff out their and it can be a bit confusing. I have tried to start out with the most basic theory, chromatic scale etc. and then build off of that. If you get the basics down really well, all he harder stuff will fall into place later as you start to use it...

[captainbraindamage]

Just wanted to say thanks for your time to do this. I'm a new player and got a theory book a couple of weeks ago, been trying to get this all figured out. You know the saying can't teach an old dog new tricks. I really haven't been spending enough time on it though, not like I should. Anyway thanks, this is exactly what I've been wanting to learn.

[jonesy]

MINOR ARPEGGIOS MADE SIMPLE...

E minor barre chord
------7--
------8--
------9--
------9--
------7--
---------


E minor arpeggio 1 Octave (1 b3 5 Octave 5 b3 1)

-------------------------------------------------
-------------------------------------------------
-------------------9-----------------------------
---------------9--------9-----------------------
-----7----10----------------------10-----7-----
---------------------------------------------------

E minor arpeggio 2 Octaves...

-------------------------7-----12-------7--------------------------
----------------------8---------------------8------------------------
-------------------9---------------------------9---------------------
---------------9---------------------------------9------------------
-----7----10---------------------------------------10-----7-------
-------------------------------------------------------------------------

These are very melodic and kinda fun, so start slowly and work up to a fluid speed. These can also be used for "sweep picking" if you are into the metal riffs. Your first finger should be able to hold on the 1st string 7th fret while your pinky plays the 12th fret Octave E on the 1st string. You should play this in chord fashion with your 4 fingers and not try and play these with just one finger...Lol
Originally these were from Classical Music and can be used for warm ups. The ROOT note is the first note on the 5th string 7th fret in this case in the key of E. This form is based on the open Am chord and is slid up the neck in various positions...

Hope your day is filled with Music...

Peace, jonesy

[jonesy]

DRONING IN DROP D ON INDIA/MOUNTAIN TIME BY JOE BONAMASSA

I was listening to this song off his new CD LIVE From nowhere in particular (track 4 disc 1)while I was Relic'ing some .022 Sprague caps. I have an amp and a guitar about 5 feet away from my bench so I sat down for about 15 mins by ear with this song and this is what I came up with...

The Intro is in Drop D and the scale he is using is a bit unusual at first I thought it to be one of the MODES but it is not. It is very close to the D Mixolydian Mode
but it has a b6 as well. I looked it up in my scale book and found it to be the Melodic Minor #5 so it is more like a mode of a mode. Confused? Don't be...

D E F# G A A# C D This is Melodic minor #5 or Mixolydian b6
Here it is on open D string..
----0---2---4---5---7---8---10----12----------
Here is the D Mixolydian on same string
D E F# G A B C D
----0---2---4---5---7---9---10----12----------

HERE IS THE FIRST FEW NOTES OF INDIA/MOUNTAIN TIME..
If you play around with it and listen closely, on the first part of the intro th he is just going up and down this scale in a LINEAR fashion...

***D**********************D*********************
----3----------------------------3-----------------------------------------
----2----------------------------2-----------------------------------------
----3----------------------------3-----------------------------------------
----0----2-2-/4-4/5-5/-7-7---0---2-2-/-4-4-/5-5/-7-7/-8-8/-7--/5 etc
----0----------------------------0----------------------------------------
----0----------------------------0----------------------------------------

The second part of the Intro where he starts climbing up and does the pull offs and flourishes, he uses the Mixolydian scale and does not play the b6 but the major 6, the mixolydian also has b7 and so does the Melodic minor #5. Joe really had me scratching my head on this one. Now here is the chord progression for the rest of the song

4/4 Time Drop D Tuning, listen for picking pattern....

***D***D/B***Cadd 9***D/B***** repeat
---2-----3-------3---------3-------------
---3-----3-------3---------3-------------
---2-----2-------2--------2-----------
---0-----0-------0--------0--------------
---0---0-2-----2-3------3-2----------------
---0----------------------------------------

I didn't spend a whole lot of time on this so I hope I got it right. Anybody else out there try playing this song???

[jonesy]

12 BAR BLUES WITH JOE BONAMASSA, WALK IN MY SHADOWS
4/4 KEY OF G WITH A SWING....Thats a G chord you hear him playing while he is dialing in his amp before he starts playing the riff (G box)

/:G /G /G /G /C /C /G /G /D /C /G /G :/

Joe put's a few little variations on the riff I am going to tab is straight up and you can listen and add your stuff in as you go along...you can also use open strings for the part over G but I am tabbing it in a pattern for you to make it easier.
FOLLOW THE 12 BAR WITH THESE 3 RIFFS, EACH RIFF IS ONE MEASURE LONG...OR 4 BEATS

INTRO G repeat Riff 4 x then to C 2 x then back to G 2 x etc..
---------------------------------------------------------------
------------------------------------------------------------
--------------------------------------------------------------
----3H5-5--------3-3----5----------------------------
------------5-5-------------------------------------
-----------------------------------------------

C Riff 2 x

------------------------------------------------------------
--------------------------------------------------------------
----3H5-5--------3-3----5----------------------------
------------5-5-------------------------------------
-----------------------------------------------
----------------------------------------------

D Riff 1 x then down to C 1 x G 2 x
------------------------------------------------------------
--------------------------------------------------------------
----5H-7-7-------5-5----7----------------------------
------------7-7-------------------------------------
-----------------------------------------------
----------------------------------------------
THE FIRST PART OF INTRO IN G MAY BE PLAYED LIKE THIS USING THE OPEN STRINGS...G
---------------------------------------------------------------
------------------------------------------------------------
-----------0-0--------------------------------------------------
---------0------0-0----3-3-----5--------------
-------------------------------------------------
-----------------------------------------------

SOUNDS LIKE G MIXOLYDIAN AND MAJOR PENTATONIC ON THE LEAD??

[rodneyk915]

Hey Jonesy! I just came across this and have read through all of the posts and I wanted to tell you what a great teacher you are. So many people who know all of this want to try to impress us with very complicated explanations and in what seems like a foreign language. They end up not actually teaching anyone because the students give up because it doesn't make sense. Thanks for keeping it "normal". I've always been a rhythm guy who can copy lead parts but never improvise because I didn't understand how things worked. Like you, I learned by ear queing the needle over and over on the parts of songs until I figured them out. I still don't use tabs unless it's been done by someone I know who knows what they are doing. I have found most of the tabs online are so wrong I wonder what they were listening to when they wrote it. I am going to start working on your lessons tomorrow. Thanks again

[jonesy]

Originally Posted by rodneyk915

Hey Jonesy! I just came across this and have read through all of the posts and I wanted to tell you what a great teacher you are. So many people who know all of this want to try to impress us with very complicated explanations and in what seems like a foreign language. They end up not actually teaching anyone because the students give up because it doesn't make sense. Thanks for keeping it "normal". I've always been a rhythm guy who can copy lead parts but never improvise because I didn't understand how things worked. Like you, I learned by ear queing the needle over and over on the parts of songs until I figured them out. I still don't use tabs unless it's been done by someone I know who knows what they are doing. I have found most of the tabs online are so wrong I wonder what they were listening to when they wrote it. I am going to start working on your lessons tomorrow. Thanks again

Thanks Bro, then this thread is for you. I have tried to keep it simple, because theory does not need to be confusing. Yes some people get a bit caught up in wordy explanations that do not really tell you anything and that is exactly what I have tried not to do. As far as tabs go they are hit and miss and it is hard to find good ones that are correct. If I mess up a tab please forgive me this thread is actually the first time I have Taught Guitar online. I work best with a guitar in one had and pen and paper in the other.

If you have any questions on anything let me know I will try and clear them up the best I can...

Thanks & Peace, jonesy

[specflec]

I am not sure of the procedure on this but...

I would hope that this thread could be made to stick. What a great resource. I am old and it was a long time ago when I was struggling with music theory - not exactly on the fingertips right off the bat - so, to see all the work and enthusiasm put out here should be made to last for anyone who jumps on this forum and wants to find some answers.

Thanks.

[jonesy]

Not sure either, Just kinda doing my thing at the moment...lol
I am just glad to see all of those who have made good use of this information and discussion to help further their Music Theory Knowledge and Playing Abilities...I really appreciate all of your Posts!

Peace, jonesy

[jonesy]

MUSIC THEORY TERMINOLOGY AND REVIEW...
THE ABC's OF MUSIC: LEARN THE LANGUAGE OF MUSIC THEORY

YOU SHOULD KNOW THE MEANINGS AND DEFINITIONS OF THE FOLLOWING WORDS/TERMS TO BE ABLE TO UNDERSTAND THE BASICS FULLY. IF ONE CAN MASTER THE BASICS AND HAVE A CLEAR UNDERSTANDING OF THEM, YOU CAN THEN GO ON AND CONQUER EVEN THE MOST DIFFICULT MUSIC THEORY PROBLEMS. MOST PEOPLE MISS THE BASICS THEN GO ON TO BE LOST AND CONFUSED BY THEORY. I WANT ALL MY STUDENTS TO HAVE THE BASICS DOWN; JUST LIKE MATHEMATICS IF YOU CANT ADD 1 + 1 THEN YOU WILL NOT BE ABLE TO MULTIPLY AND DIVIDE NUMBERS.

WHITE KEYS
BLACK KEYS
INTERVAL
MELODIC INTERVAL
HARMONIC INTERVAL
HALF STEP
WHOLE STEP
CHROMATIC SCALE
NOTE
CHORD
TRIAD
MAJOR CHORD
MINOR CHORD
MAJOR SCALE
MINOR SCALE
MODES
ROOT
OCTAVE
3RD
5TH
b3RD
MAJOR 7TH
DOMINANT 7TH
MAJOR 3RD
MINOR 3RD
INVERSION
PENTATONIC
BLUES SCALE
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXOLYDIAN
AEOLIAN
LOCRIAN
MELODY
HARMONY
DISCHORD

I THINK MOST OF THESE TERMS ARE COVERED IN THIS THREAD, IF NOT A QUICK GOOGLE SEARCH WILL TURN UP AN ANSWER FOR YOU...
MUSIC THEORY IS THE LANGUAGE OF MUSIC. YOU CAN GO TO ANOTHER COUNTRY AND "GET BY" WITH OUT SPEAKING THE LANGUAGE, BUT ONCE YOU LEARN IT LIFE BECOMES SO MUCH EASIER...CIAO

[Gigan]

Jonesy could you possibly explain ,with a picture or chart the idea of adding the 7th to a standard open chord like c major 7th or g major 7th, or a major 7th??? and how that rule applies to al possible 7th chords?

[jonesy]

Originally Posted by Gigan

Jonesy could you possibly explain ,with a picture or chart the idea of adding the 7th to a standard open chord like c major 7th or g major 7th, or a major 7th??? and how that rule applies to al possible 7th chords?

GOOD QUESTION GIGAN, THE MAJOR 7TH OR WHAT I REFER TO AS THE JAZZ 7TH IS THE 7TH NOTE OF THE MAJOR SCALE IN THAT KEY. SO...FOR THE C CHORD LOOK AT C MAJOR SCALE AND IT WILL BE THE 7TH NOTE, THE LAST ONE BEFORE THE OCTAVE. IF YOU FLAT THE MAJOR 7TH THEN YOU GET THE DOMINANT 7TH OR WHAT I CALL BLUES 7TH...

HERE IS A CHART I MADE FOR YOU, NOTES WITH SLIGHT RED HIGH LIGHT ARE THE ROOT NOTES. LOOK AT THE C CHORD AND THEN LOOK AT THE C Maj 7th..THE OCTAVE GET'S FLATTED GIVING US THE MAJOR 7TH.
SO IN OUR C CHORD WE NOW HAVE 1 3 5 7
THE DOMINANT 7TH WOULD BE........ 1 3 5 b7


HOPE THIS HELPS CLEAR THINGS UP...LISTEN CLOSELY TO THE DIFFERENCE BETWEEN THE SOUND OF THE C AND THE C MAJOR 7TH CHORD AND YOU WILL SEE HOW MOVING ONE NOTE 1/2 STEP CAN MAKE A BIG DIFFERENCE IN VOICING.

PEACE, jonesy