Dominant 7 chords are one of the most important chords to know, they can be found in many styles of music as blues, funk, pop and of course in jazz music. In this lesson we will see how dominant 7 chords are built and how to play them on guitar using 36 different voicing shapes.
In this lesson we will see how to harmonize the melodic minor scale in thirds with seventh chords. In other words we will see how to build seventh chords by stacking thirds from each degree of the melodic minor scale.
Dominant 7 flat ninth chords (7b9) are generally related to the fifth mode of the harmonic minor scale known as Phrygian dominant scale, which makes it the most obvious choice for improvising over 7b9 chords. However, we will see in this article that there are many other options.
What's a Major Scale?
A major scale is a scale containing a major third (3) and a major seventh (7). There must be four half-steps between the root and the major third and one half-step between the major seventh and the root. The most known is the major scale spelled 1 - 2 - 3 - 4 - 5 - 6 - 7.
What Are the Twelve Types of Major Scales?
When we think about major scales, the first that comes to mind is the Ionian mode, best know as THE major scale. However, there are several other types of major scales (Ionian #5, Lydian augmented #2, Ionian b6) which deserve a little more attention. Here they are listed with guitar shapes and formulas.
These lines come from the first chapter of David Baker's book "How To Play Bebop Vol.2 - Learning the bebop language". They correspond to the first ten exercises of the section named "The Use of The II V7 Progression in Bebop".
You 'll find in this lesson a quick analysis of each pattern with scale diagrams (Dorian, Dorian bebop, Mixolydian, dominant bebop, Mixolydian b13, altered, mixo-blues and half-whole diminished).
"Solar" is a jazz standard written by Miles Davis in the key of C minor with four tonal centers that are : C minor, F major, Eb major and Db major. Solar contains essential chord progressions as major and minor II V I. This lesson provides a short harmonic analysis and a chord melody arrangement for guitar with tabs, standard notation, chord shapes and audio file.
What's a Tritone Substitution?
The tritone substitution is one of the most common substitution found in jazz. The basic application of a tritone chord substitution is to take any 7th chord and play another 7th chord that has its root a tritone away from the original. This guitar lesson demonstrates how you can play scales and arpeggios starting from the b5 (a tritone away) of the V7 chord in a II V I chord progression. This way you will highlight altered tones as the b9 and the #11.
When learning how to play jazz guitar, one of the most important device to master is to play each tone of a chord in order to outline a specific progression.
This is what we call arpeggios. They are great melodic tools when you want to highlight the chords you are soloing over.
This article is focused on diatonic seventh arpeggios and their extensions. In a first time, before applying these extensions, it is recommended to have a very strong knowledge of the triads, both the chords and the arpeggios.
The minor blues scale is mostly referred to as the minor pentatonic scale with a b5 thus giving the interval pattern 1 - b3 - 4 - b5 - 5 - b7. However, few musicians know that there are three types of minor blues scales depending on wether you incorporate the flat fifth (b5), the major third (3) or the major seventh (7) to the minor pentatonic scale. In this lesson you will learn how to build, play and recognize each of these three minor blues scales.
Triads are one of the first harmonic tools to study. They are very useful for comping and chordal enrichment. Learning close and open triad voicings increase your harmonic knowledge and at the same time help you discover your fretboard.
In this lesson you will see the main triad chord shapes including root positions and inversions. You will also find some ideas on how to use triads over a II V I sequence, in order to create interesting melodic movement in your comping.
Dominant seventh chords are the most important features in music, you can find them in many styles of music, especially in blues and, of course, in jazz. In this lesson, you will see how to construct drop 2, drop 3 and drop 2 & 4 dominant seventh chords, what is their harmonic function and how to play them on guitar.
What Are Drop 2-4 Chords?
Drop 2 and 4 chords are created by dropping down an octave the second and fourth note of a seventh chord in close position. They can be very important tools for composition and arrangement. This lesson with diagrams provides useful explanations on how to build and play drop 2 & 4 chords on guitar.
What's a Tetrad ?
A basic chord is built with three notes this is what we call "triad chords" or "triads". Tetrad chords aka "four note-chords" are simply chords containing four notes, “tetra“ is a Greek root meaning four.
This means that tetrads are triads with an additional note, a major seventh or a minor seventh.
This article will enlighten you on how these tetrad chords are built and how they can be classified.
Here is a list of the main musical scales and modes.
What Are Drop Voicings?
Drop voicings are chords which span more than an octave. They are very useful tools in music composition and arrangement and are greatly appreciated by guitarists for comping and soloing.
There are several types of drop voicings as drop 2, drop 3, drop 3-4, drop 2 and 4 voicings and drop 2-3-4 voicings. This lesson focuses on drop 3 voicings only. You will see how they are built and how to play them on guitar by using the chord shapes and tablatures provided on this page.
What's An Altered Dominant Chord?
Altered dominant chords are used to bring tension and an outside flavor to jazz chord progressions. They generally resolved to an inside chord as the I or a substitute as iii or vi.
Altered chords have one or more notes lowered or raised by a half-step, in other words they contain one or more alterations. These alterations can be b9,#9, b5 (#11) and b13 (#5).
They are generally used by jazz musicians, composers and arrangers as substitutions for diatonic chords for adding dissonance and spicing up the harmony.