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1

Soloing Over Dominant 7th Chords

Before we get started let me thank you for purchasing this
tutorial and supporting the development of future lessons on
my site. This tutorial will take you through a full development
program designed to give you a full understanding of the often
complex world of the Dominant 7th chord.

The Dominant 7th chord is a tricky one to handle as there are so
many different scales and voicings available within the chord
family and the context of the chord can change its function and
sound in so many ways. I remember, when I was a student
learning to play over jazz standards and more complex fusion
tunes, you could guarantee that it would be a dominant 7th
chord of some description that would bring my lines and solos
crashing to a grinding halt as I struggled to figure out what I
should be playing over it.

As there are so many ways to play over the Dominant chord type, this tutorial will be broken
into the following topics: -

1 – Mixolydian Dominants

2 – Mixolydian b9 (Diminished Dominants)

3 – Non Resolving Dominants - Lydian Dominants

4 – Advanced Resolving Dominants

a) Super-locrian/Altered Dominants
b) Phrygian Dominants (Harmonic Minor)
c) Phrygian Dominants (Melodic Minor)
d) Diminished Scale Dominants

5 – Dominant 7th Lines/Licks

At this point I’d like to state that this tutorial requires a fairly good knowledge of basic jazz
harmony and progressions. If you are not familiar with this I’d recommend checking out the
Jazz Harmony Tutorial that is available on my website in the lessons section.

Each topic will cover the theory required to utilise each sound and teach the scales and
chord voicings that are used. Most importantly the context of each dominant 7th sound will
be explained and demonstrated by use of example chord progressions from well-known
standard tunes. By the end of the tutorial you should be able to see any dominant 7th chord

Copyright www.tomquayle.co.uk 2012

Let’s define this sound as a rule that you can refer to when choosing how to solo over a particular dom7th chord. This intervallic structure can be defined in two ways: - Root – 3rd – 5th – b7th or. Many jazz and fusion players will refer to this basic dominant 7th as a ‘Mixolydian Dominant’. All dominant 7th chords share the same basic intervallic structure giving them a naturally unstable sound.uk 2012 . Mixolydian Dominants: - For the sake of completeness I’m going to start with some basic theory regarding the dominant 7th chord. When played together they create the interval of a tri-tone 1 – a very dissonant sound requiring resolution. The B resolves up a semitone to the C (root) of the C chord and the F resolves down a semitone to the E (3rd) – hence the term leading tones. G7 – C ‘Leading Tones’ Notice that I have omitted the 5th (D) from the Dominant 7th chord.co. It’s very important to notice the root movement of this chord too – it moves up a 4th/down a 5th from G to C. These create out tri-tone interval and the subsequent tension.tomquayle. 1 A dissonant interval made up of 3 whole tones Copyright www. Here is the same idea represented in notation and TAB. When soloing over this most basic of dominant 7ths we simply use the C major scale starting from the root note of the G7 chord – G. The most common application of this ‘tension – resolution’ relationship is in a major key where the dominant 7th chord is built from the 5th degree of the major scale (chord V) and resolves to the Major chord built from the 1st degree of the scale (I chord). The leading tones (3rd and 7th) of our G7 chord would be the notes B and F respectively. specifying the scale that fits with this chord type and its function within the chord progression. can be altered to create more tension in certain harmonic situations. This is a very neutral sounding note and. 9. They are named as such because these two notes create tension that leads to a need for resolution. In the key of C this would give us a G7 chord and a C chord.2 within a progression and know what will fit and why. When we play a C major scale from G to G we get a G Mixolydian scale and you should associate the scale and the chord together. 1. Root – up a maj 3rd – up a minor 3rd – up a minor 3rd The major 3rd and flattened 7th structure is unique to the dominant 7th chord and these intervals are often termed ‘leading tones’. 11 and 13 extensions can also be placed on the chord without affecting its function or scale choice. as we’ll find out later in the tutorial. improving your soloing and compositional abilities. Let’s get started on the first topic.

An example of this kind of chord progression occurs in Herbie Hancock’s ‘Maiden Voyage’ where 9sus4 chords are used to create a modal Mixolydian sound. Copyright www. In this instance the 3rd becomes the clashing note and should be treated with care.uk 2012 .3. b13). Here is the G Mixolydian Scale through one octave containing the intervals R. #5. b9.5.tomquayle.b7: - G Mixolydian Scale When using the Mixolydian to play over this type of Dom 7th chord be aware that the 4th degree of the scale (in this case the note C) will clash against the 3rd of the chord and should be used as a passing note rather than a melodic one unless the chord is a Dom7sus4 where the 3rd is replaced with the 4th degree as shown below.2. 3rd and 4th degree clashes The Mixolydian scale can also be used over Dominant 7th chords that don’t resolve up a 4th or down a 5th if the chord in question is some kind of 7sus4 chord (including 9sus4 chords) or when playing over the Dominant 7th’s in a blues.6. #11.4.co.3 Mixolydian Dominants – You can use a Mixolydian Scale to play over a Dom 7th chord when the Dom 7th chord’s root note moves up a 4th or down a 5th to a Major/Major7 type chord and the Dom 7th chord contains no altered notes/tensions (b5. #9. Here’s the first section of the chord progression requiring Mixolydian chords over each of the 9sus4 chords.

Copyright www. 9. Mixolydian Dominants – we can play the Mixolydian scale over any dominant 7th chord that contains a 4th instead of the natural 3rd in the voicing. This is known as a modal or non-functional progression where the chords don’t follow the traditional method of coming from one key.4 Maiden Voyage Progression To play over a progression such as this.uk 2012 . Instead the same mode or tonality (Mixolydian) is used and moved around to create interest and forward motion.co. For all other basic Dominant 7th chords (7. 9sus4 chords. The Mixolydian can be used but there is a better option that sounds much cooler! Let’s look at this second rule for Mixolydian dominants too. Only the Mixolydian scale contains all the correct intervals to fit over this chord type (there is another chord type names 7sus4b9 that we’ll deal with later on). Next we’ll look at a technique used to create tension over the dominant 7th chord before it resolves up a 4th/down a 5th to the I chord. simply play the Mixolydian scale from the root note of each chord paying special attention to emphasise the 4th instead of the 3rd degree of the scale.tomquayle. This would be any Dom11 (not #11) or 7sus4. 13) that don’t resolve up a 4th/down a 5th we usually use another scale to solo with. When dealing with modal Dominant 7th chords (as opposed to functional ones) we only normally play the Mixolydian scale over 7sus4 or Dom 11th chords as they preclude the use of any other scales due to the inclusion of the 4th/11th in the chord.

3rd. The technique is very simple and requires playing the interval of a b9 (same as a b2) over the Dominant 7th in place of the natural 9 normally associated with the Mixolydian scale. Notice that the root note of the Dominant 7th chord is moving up a 4th/down a 5th here so the b9 technique works very well. You can see the intervals created by its use against the G root note. The b9 (Ab) then resolves down a semitone to the 5th of the Cmajor7 chord (G) as we move to the I chord and our resolution. Mixolydian b9 Scale You can choose to play either the b9 or the natural 9 and can use both effectively in a line. Usually you would play the natural 9 first followed by the b9 to create tension. By doing this the diminished arpeggio will outline the b9. Another way to think about this technique is to play a diminished 7th arpeggio up a semitone from the root of the dominant 7th chord in question. Here’s the scale written out for you to try. This is a very common jazz/fusion technique and the b9 can even be used over a G9 chord as long as it is resolved properly when you reach the Imaj7 chord. Don’t worry about naming this scale. 5th and 7th of the chord giving us a G7b9 sound. In the key of C for example our Dominant 7 chord would be G7 and we would play G Mixolydian but replace the A (2nd / 9th) with Ab (b2nd/ b9th). Copyright www. just think of it as a Mixolydian scale but you’ve chosen to outline the b9 instead of the natural 9 to create more tension. The b9 is the easiest tension to hear and use in this context and is available to you on any dominant 7th that resolves up a 4th/down a 5th.co.uk 2012 . th Ab Diminished 7 Arpeggio Here are some very basic example lines that use the b9 interval and the diminished arpeggio up a semitone from the root in the key of C.tomquayle.5 2. Mixolydian b9 Technique: - When soloing over the resolving Dominant 7ths described in the first section of this tutorial we can use a technique to create extra tension and a more interesting melodic flow on the chord as it resolves to the I chord of the key. The chord progression is Dm7 – G7 – Cmaj7. Here is the arpeggio written out. This V-I chord progression is incredibly common and giving you loads of opportunities to try out this technique for yourself.

tomquayle.6 Lines using the b9 interval The last line here is simply a scale based phrase so you can hear the scales in context.’ Copyright www. There is also a backing track provided for you to practice this technique over. You’ll find this technique all over the place.uk 2012 .co. Now for the next type of Dominant 7th chord called the ‘Lydian Dominant. Try composing some line such as those above for yourself using this b9 interval and transcribe some of your favourite player’s lines.

co.tomquayle. you’ll notice that the natural 4th of the Mixolydian scale can often sound out of place and G Lydian Dominant Scale dissonant against the chord. G9#11. Sometimes the composer will actually specify in the chord symbol that the chord is a Lydian Dominant by including the #11 in the chord name. If you know your major scale harmony you’ll know that Lydian means a raised/sharpened 4th and this is exactly what the Lydian Dominant means. We also encounter Dominant 7th chords that don’t resolve in this manner but whose root notes move up a semitone. We simply take our Mixolydian scale and sharpen the 4th degree – remember the 4th is the same as the 11th so we usually refer to the chord symbol as a 7#11 chord. These non-resolving Dominants look very similar to resolving. This is useful because if you’re not familiar with your Lydian Dominant scale but can play your melodic minor. If you spot a 7. Mixolydian Dominants in that they can be written as 7. G13#11 From a chordal perspective it is entirely up to you which voicing you use. Personally I recommend that you learn all your major and melodic minor scale modes all over the neck. In other words its root note moved up a 4th or down a 5th and its leading tones resolved as described in the previous section of the tutorial. it’s actually the 4th mode of the melodic minor scale. So where does this scale come from? Well. tone or some other type of non- resolving root movement.7 3. You’ll be playing exactly the same notes but it will be a visualisation process and scale shape that’s more familiar to you. If the chord symbol says G7#11 you should feel free to play the 9th or 13th in your voicing too – this is an artistic Copyright www. so our G Lydian Dominant comes from a D Melodic Minor parent scale. Lydian Dominant Chords (Non-Functional Dominants): - The Mixolydian Dominant chord was a resolving Dominant. 9 or 13 chords but the clue to spotting them is looking for unusual root movement – in other words their context within a chord progression. When you encounter these non- resolving Dominants. each time you see a Lydian Dominant chord you can play the melodic minor scale up a 5th or down a 4th from the root note of the chord.uk 2012 . Such chords could also include the 9th or 13th extensions and would appear as follows with a G root note: - G7#11. We also call these ‘Non-Functional Dominants’. Here’s the scale written out through one octave with the #4/11 interval instead of the natural 4/11. 9 or 13 chord that doesn’t resolve up a 4th or down a 5th to another chord then you can bet that it will be a ‘Lydian Dominant’ chord. The raised 4th of the Lydian Dominant scale has a much ‘hipper’ sound that fits the jazz and fusion style much more successfully.

8 decision and is entirely your choice. (I’ve changed the names of the tunes for copyright reasons!) Copyright www. You’ll find that the more extensions you use in your voicings. Remember – we only use these #11 voicings for Non-Functional Dominant 7ths that don’t resolve up a 4th or down a 5th. so be sure to use the appropriate voicing for the style of music you’re playing and the mood you’re trying to create. They have a particularly dense sound and may not always be appropriate. For this I’ll be using two tunes – ‘Girl from Panama’ and ‘Stella by Moonlight’ – I’ll also be explaining two exceptions to the rule given here that will allow you to correctly identify when you should and shouldn’t use the Lydian Dominant scale.uk 2012 . Here are some example chord voicings for Lydian Dominant chords. G Lydian Dominant Chords The last two chords here have the root note omitted and are particularly useful when playing with a bass player.tomquayle. Let’s check out some example chord progressions that feature Lydian Dominant chords. including the basic 7th. We’ll start with ‘Girl from Panama’. the darker and more tense the chord becomes. The main point is that all of these chords require the Lydian Dominant scale when we play over them.co. 9th and 13th chords without the #11 interval in the chord.

Copyright www. For it to qualify as a Mixolydian Dominant it would have to move up a 4th or down a 5th and would move to a chord with a C root note. Play Gb Lydian Dominant over this chord or visualise it as Db melodic minor if that helps.co. Notice that the G7 moves to a Gm7 chord meaning that it can’t be a functional/Mixolydian Dominant. G7 in bars 3 and 4 followed by Gb7 in bars 6 and 7. Looking at the Gb7 in bars 6 and 8 we get the same results.uk 2012 .9 Girl from Panama Excerpt: - Here we have two Dominant 7th chords. As the root note stays the same (G) for the next chord we can qualify the G7 as a Lydian Dominant (non- functional) and play the G Lydian Dominant over it (D Melodic Minor).tomquayle. The key to working out what to play over them is to look at what precedes them and where their root notes move to. In this case the Gb root note moves down a semitone to Fmaj7 qualifying the Gb7 as a Lydian Dominant chord.

Either way. Notice that it resolves up a 4th to Cm7 so it must be some kind of resolving Dominant and not a Lydian Dominant. Stella by Moonlight – B Section: - The first chord is a Dominant 7th but a type that we’ll come across later with a #5 interval so for now we’ll ignore it. other times you’ll see the #11 in the chord symbol. #11th and 13th extensions outlining the sound of the Lydian Dominants more effectively. we have a more interesting version of the same chord sequence using 9th.tomquayle. The next Dominant is Ab7 and its root movement goes up tone to Bb qualifying it as a Lydian Dominant. We play Ab Lydian Dominant (Db Melodic Minor) over this chord. you need to be able to quickly identify what kind of Dominant 7th you are dealing with and choose the appropriate scale to play over it. Copyright www. Let’s have a look at ‘Stella by Moonlight. Below is a more involved version of the chord progression with extensions outlining the Lydian Dominant nature of the Ab7 chord. Sometimes you will see a simple 7 chord written on charts.uk 2012 .’ We’ll be looking at the B section containing 4 chords lasting for 2 bars each.10 Above.co.

Our ears are already locked into the sound of the II-V-I progression and we hear the F7 as a resolving Dominant . If the Dominant 7th in question is preceded by its own II chord then you treat it as a Resolving Mixolydian Dominant or Mixolydian b9 Dominant.uk 2012 . The second Dominant 7th is the F7 in bar 4 and looks like it should be a Lydian Dominant because its root note stays the same in the next bar with Fm7 – in other words it doesn’t resolve up a 4th or down a 5th. Stella by Moonlight – A section: - The first Dominant 7th chord we come across is a 7#5 so we can ignore that one for now. This is why it’s important to look at the chords both after and before the Dominant 7th chord in question.co. this is a special case as this F7 is preceded by its related II chord – Cm7. Even though the I chord (in this case it would be Bbmaj7) is not present in bar 5 as we might expect. This gives us the sound of the most common chord progression in jazz the II-V-I.it simply doesn’t resolve as expected. rather moving to another II-V progression in bars 5 and 6 (this one does resolve as expected to its I chord – Ebmaj7).tomquayle. Copyright www. it doesn’t matter. As such we treat the F7 in bar 4 as a Mixolydian or Mixolydian b9 Dominant and play the relevant scales over the top.11 I mentioned two exceptions to the Lydian Dominant rule where it would appear that the scale should fit but it doesn’t and we’ll examine them now using ‘Stella by Moonlight’ and a tune called ‘Very Late’. However.

co. Very Late – Chord Sequence Excerpt: - The Bb13 chord in this progression appears at first glance to be a resolving Dominant as its root note moves up a 4th to Ebmaj7. and Copyright www. When we build a chord from the b7th degree of a major key we play a Lydian Dominant chord even if that chord then resolves up a 4th/down a 5th in the next bar. as would be the case if the chord was a 7b5. To sum up – if the Dominant 7th chord in question’s root note is built from the b7th of the key then you treat it as a Lydian Dominant even if it resolves up a 4th/down a 5th and doesn’t contain altered tensions (b5.tomquayle. This chord progression is in the key of C and the Bb7 is built from the b7th degree of the key. You might be thinking that there is no b7 interval in C major and you’d be right but we can build chords from notes that are not originally in the key if we follow certain rules. You will see it though. This is in fact wrong and very outdated as the scale can’t have a b5 and a natural 5. As a final note you may see a Lydian Dominant chord written as a 7b5 chord where the #11 has been renamed as b5.uk 2012 . Try playing a Bb Mixolydian scale over this chord though and you’ll find that you want to hear the #11th /4th interval from the Lydian Dominant scale rather than the natural 11th /4th from the Mixolydian.12 Let’s check out the ‘Very Late’ example for our final rule regarding Lydian Dominants. Try playing the Bb13 using a voicing that contains the #11 interval such as Bb7#11 or Bb13#11 and you’ll hear that it sounds great and leads superbly to the Ebmaj7 in bar 3. #9). The other Dominant 7ths in this progression (Ab13 and G13) are functional Dominants and should be soloed over with Mixolydian or Mixolydian b9 scales. #5. b9.

b6. For example: - Copyright www. so we re-name some of the intervals as follows. b9.it’s simply a case of a lack of standardisation .tomquayle.uk 2012 . or Altered Dominants as they are more commonly known.13 should use your ears to work out which scale to use as a true 7b5 chord requires another scale altogether! 4. are Dominant 7th chords that contain an altered 5th or/and 9th. The altered scale (we’ll stick with that name for now) is actually the 7th mode of the melodic minor scale and contains the following intervals from the root note: - R. #9 intervals. b5. #9. b5. #5. b7 This is fine for working out the scale but not so useful for thinking about chord voicings or finding those altered notes we talked about. 3.co. b3. All of these Dominants will be used as a V chord in a II-V-I or II-V relationship and as such their root notes will resolve up a 4th or down a 5th (except where tri-tone substitution is being used – see the section on Sequential Dominants and Tri-tone Substitution). 3. #9. b5. Altered Dominants can be played over using the Superlocrian scale – also called the altered scale. #5 altered tensions that make these chords so ‘hip’ sounding and useful for building tension within chord sequences. a) Superlocrian/Altered Dominants: - Superlocrian. only limited by the fingerings available on the guitar. R. #5. The name chosen makes no difference . b2.they are exactly the same scale but with two different names. Advanced Resolving Dominants In this section we’ll be looking at more complex forms of resolving Dominants and their uses. b9. b4. b7 – but with the b9. b7 By doing this we can see the scale as a Dominant 7th chord – R. These altered notes can be added to the chord in any combination. Altering 5ths and 9ths means that they are raised or lowered by one fret and are referred to as b5.

14 The altered dominant can be used in any scenario where a V chord (Dominant 7th) resolves up a 4th/down a 5th in a V-I or II-V-I relationship or in any II-V relationship where the Dominant 7th doesn’t resolve because the I chord is implied but never played. you could play the melodic minor scale up a semitone from the root note as this is the parent scale and will yield the same notes.uk 2012 . Here is the scale written out through one octave from a G root note: - Notice that the scale doesn’t contain a natural 5th so playing that note over the chord will sound incorrect. When you see the chord in a progression you would solo using the Altered/Superlocrian scale built from the root note of the chord. #5. Take the approach you find the easiest to visualise on the fretboard. You will often see the altered dominant chord symbol abbreviated to 7alt. This allows you to choose the chord voicing with the alterations of your choice using the b5.tomquayle. Be careful to only play the b5 and #5 over G Altered Scale an altered Dominant chord. b9 and #9 intervals.co. If your phrasing and time feel are strong you can even get away with using the altered scale over a Mixolydian Dominant chord when the altered 5th and 9th are not present Copyright www. You will find these altered Dominants all over the place in jazz and fusion tunes but they are often too dark for many pop and rock songs (although they are occasionally used in those genres too). Alternatively.

However. We’ll use ‘Stella by Moonlight’ again and a tune called ‘Autumnal Foliage’ as examples. Let’s look at some progressions with altered Dominants in. As such you should play a Mixolydian or Mixolydian b9 scale over this chord.15 in the voicing. It’s all about having confidence in what you’re playing and resolving well when you reach the I chord – Bbmaj7.tomquayle.uk 2012 . The F13 chord in bar 6 is a resolving Dominant moving up a 4th to the Bbmaj7 chord giving us a V-I progression. For example. This takes some practice and transcribing other player’s lines is recommended to get some idea of the strong phrasing and lines required to do this.co. in bars 1 and 2 we get a II-V relationship in the Em7b5 chord moving to the A7#5 chord. You would play an A Altered scale over the A7#5 chord and a G altered scale over the G7#5 chord in bar 4. as mentioned previously. Stella by Moonlight – Last 8 bars of final A section: - Here you can clearly see the altered chords as 7#5 chords and they are preceded by their II (m7b5) chords. you could play an F Altered scale over this chord to create extra tension leading into the Bbmaj7 in bars 7 and 8. Copyright www. Let’s look at the ‘Autumnal Foliage’ example. You must have great phrasing and time feel for this to work on non-altered dominant chords (Mixolydian Dominants) though. This works best if the chordal accompanist plays an F7alt chord but it is not essential if your lines and time feel are strong enough. Remember – any time you have a resolving Dominant 7th chord or a Dominant 7th preceded by its II chord you can play an altered scale from the root of the chord.

We get a minor II-V-I in bars 5. This sound is very much associated with Latin jazz and composers such as Chick Corea and Al Di Meola. altered chords make for great. but be prepared for a very tense and dark sound! b) Phrygian Dominants (Harmonic Minor) A Phrygian Dominant is a resolving Dominant that contains a b9 and natural 4th interval in its associated scale.6 and 7 leading to the Gm7 in bar 7.tomquayle. imparting a very Spanish/Latin tonality to a chord progression. The b9 and 4th are usually put into the chord voicing but not always. Copyright www. The F9 is a Mixolydian Dominant but you could play F altered if you phrase well and resolve strongly to the Bbmaj7 by use of a chord tone on beat one of bar 3. Feel free to create chord sequences made up of only non-resolving altered dominants too.uk 2012 .co. The D7#9 is an altered Dominant and as such we play a D altered scale over this chord (Eb melodic minor). one chord vamps that have a very fusion sound to them. and very tense. The scale we use to play over these chords is actually named the ‘Phrygian Dominant Scale’ and is often heard in metal and rock music from guitarists such as Yngwie Malmsteen and George Bellas. The G7#5 is the V chord of the Cm7 at the start of the progression and is an altered Dominant. Simple when you know how! Finally. commonly leading to a minor7 or minorMaj7 chord a 5th lower/4th higher. One such Phrygian Dominant occurs on the 5th degree of the Harmonic Minor scale and is often named as a 7b9 chord.16 Autumnal Foliage – A section: - The progression starts with a II-V-I sequence leading to the Bbmaj7 in bar 3. so we play G altered over this chord.

4. b3. b7 On the next page you’ll find the scale written out through one octave with a G root note: - Copyright www. 4. When you see resolving Dominant chords such as this you have an artistic choice to make about the kind of sound and tensions you want to use. this chord and its associated scale contain both a b9 and natural 4th interval but this time both intervals are stated in the chord symbol giving us the chord 7sus4b9.5.tomquayle. The scale associated with this chord is called the Dorian b2 scale and has the following intervals in it. I recommend learning what each scale choice sounds like and choosing either the sound you like the best or the one you feel is most appropriate for the musical scenario you find yourself in. The 11th and b13th are not normally used in the chord symbol. 5.17 Here’s the scale through one octave with the root note G: - The formula of the scale is R. 4/11 and b6/13. R. 3. dark sound that is a very powerful melodic and harmonic device to use if a regular Mixolydian chord is simply too clean and dull sounding. c) Phrygian Dominants (Melodic Minor) Another Phrygian Dominant can be found built from the 2nd degree of the melodic minor scale and is quite a different sounding chord to the harmonic minor version.b2.3. Here’s a typical chord progression used by Chick Corea that allows for opportunity to use the Phrygian Dominant scale. Again.b6. G Phrygian Dominant Scale This is most often written as a 7b9 chord. This chord usually replaces a Mixolydian Dominant to create more tension and gives a beautiful. But for an authentic Latin feel and sound you should try playing D and G Phrygian Dominant scales over each chord leading into the Cm7 in bar 4. b2. The two 7b9 chords could be looked at in a few ways and the most obvious is to play altered scales over both chords since both chords contain a b9 interval.b7 giving us a basic Dominant 7th – R.co. b7 – with the extensions – b2/9.uk 2012 . 6.

Copyright www. Over the page you’ll find a chord progression that uses this idea.co. In this case the sus4 interval in the 7sus4b9 has resolved down to the 3rd of the 7b9 chord. The extensions available are the b9 and the 13th and this chord is often written as a 13sus4b9 symbol. Instead we get a b3rd and this is why we use the 4th instead. Now if you ever see a 13sus4b9 chord you know what to play! Nice! Another common progression you’ll see is the 7sus4b9 chord followed by a standard 7b9 chord.uk 2012 . giving us a 7sus4 G Dorian b2 Scale chord. We use a Dorian b2 scale over the 7sus4b9 chord and then either Altered. Some of You – A Section Excerpt: - In this progression we have a V-I relationship with the Bb7 (V) chord resolving up a 4th to the Ebmaj7 (I) chord. The basic Mixolydian Dominant chord has been replaced with a Dorian b2 Dominant and as such a Bb Dorian b2 scale should be used over the Bb7 chords.tomquayle. Let’s look at an example chord progression where a 7sus4b9 chord has been used. Here are some common voicings for this chord: - Remember that these chords replace Mixolydian Dominants to provide a darker sound for a resolving V chord and can precede a major or minor 7. major or minor 6 or minMaj7 chord. Mixolydian b9 or Phrygian Dominant over the 7b9 chord. Experiment by using Dorian b2 chords in place of Mixolydian or Mixolydian b9 Dominants.18 The formula gives us the root and b7 of a Dominant 7th chord but not the 3rd. As mentioned previously you have choices to make.

Experiment until you find the scale you like the most and try to thread a melodic motif or idea through both chords making particular emphasis of the 4th dropping down to the 3rd. 7b5. b2/9. as outlined above. 5th. R. G Diminished Scale #9. 13#9. from the root note of the Dominant 7th chord. 13. b7th – and the extensions – b9. Over the page you’ll find some common voicings of some Diminished Scale Dominant 7th chords. 7#9. b5. 3. #2/9. For this tutorial we’ll look at the Dominant chords the scale provides and when they can be used but for much more detailed information on this fantastic scale plus some great licks and concepts check out the Diminished Scale Harmony tutorial on the lessons section of the site. The Diminished scale contains 8 unique notes and gives us the following intervals. - The scale gives us a standard Dominant 7th chord – R.tomquayle.co. 3rd. 5. 13b9. d) Diminished Scale Dominants Diminished scale Dominants are built from the Symmetrical diminished scale and give us some great sounding harmonic ideas that are explored in full in my Diminished Scale Harmony tutorial. b7 Here’s the scale written out through one octave from a G root note. The chord types produced by the scale are: - 7b9.uk 2012 . 7b5b9 and any other combinations of the available extensions. 6/13. The Diminished Scale Dominant is used as a resolving Dominant in place of a Mixolydian Dominant leading to a Major 7 type chord in a V-I relationship. When you see any of these chord types you can play a Diminished scale. It also makes a fantastic one chord vamp for a modern sounding fusion groove in a Miles Davis style.19 Sus4 moving to 3rd My particular scale of choice over the D7b9 chord is the D altered scale. Copyright www. b5 and 13. 13b5.

20 Some of these voicings are very dissonant sounding and should be used with care but if you see these chord symbols for a resolving Dominant you can play the diminished scale over the top of them.uk 2012 .tomquayle.co. Here’s an example chord progression using some Diminished Scale Dominants: - Copyright www.

In bar 6 we have a G7b9 chord and could play a G Diminished or altered scale or a Mixolydian b9 scale over it. Good luck! You’ll find all of the licks over page and played on the accompanying video. Dominant 7th Lines/Licks: - This section of the tutorial contains a series of lines based around the chord progressions and scales we’ve seen in the tutorial so far.tomquayle. We would play a G Diminished or Mixolydian b9 scale over this chord. 5. Over the A13b9 chord in bar 8 we could play the A Diminished or Mixolydian b9 scales. The A7#5#9 is an altered chord so we play an A altered scale over it.uk 2012 .21 The first Dominant chord we come across is the G13b9 that has a V-I relationship with the Cmaj7 in the next bar.co. Copyright www. Use these lines as a basis for constructing your own phrases and lines.