Clarification
In a previous entry I spoke of dominant chords, which a reader seemed to have misunderstood. Technically, I should been referring to dominant seventh chords which are composed of a major triad with the addition of a flatted seventh. Dominant seventh chords are composed of the 1, 3, 5, and 7 of the mixolydian scale of the root. For example, a C7 chord is composed of C, E, G, and Bb. I was not referring to major chords, nor was a referring to "dominance" as a relation between two chords. So, back to my original point: playing a totally random progression of dominant 7th chords will inevitably sound good. It is an interesting phenomenon. Try it sometime.
Hmm, didn't work so well for me. I tried it on the piano, and in particular, going from a 7 chord rooted on a black key, like Eb7 or C#7, to a chord rooted on a white key, (C7, G7, D7, etc.) didn't sound very good at all. Am I missing something?
Do you mean dominant 7th chords, which refers to G7 in the key of C or F#7 in the key of B, for example, or just 7th chords in general, with no relation to the key? The entire word "dominant" has nothing to do with the actual makeup of the chord, but rather its relation to the tonic key. Playing random progressions of 7th chords guarantees no pleasant-sounding result. A sequence of dominant 7th chords, leading to the tonic, which is then made the dominant 7th of the next chord, is a basic and very common chord progression (nothing very interesting).