n Building Jazz Chords ‘Most jezzis Fyaimonized with Seventh Chords. Seventh Chords ate four-note chords built in thirds (every other note ota scale), AMisjor Seventh Chord uses the first thitd, (ith. and seventh notes ofe majorscale 31. Cefn Seale CMalor Seventh Chord He Sass: Ss res apes = see cz a= 5 Lowering the top note (called the seventh) of the Major Seventh Chord changes the chord to a Dominant Seventh Chord, Lowering the second (called the third) and top note (seventh) ofa Major Seventh Chord charges the chord to a Minar Seventh Chord. 32. CMojar Seventh Chord Dominant Seventh Chord Minor Seventh Chord ‘Chords have specificlabe's called Chard Symbols, The first letierin a Chord Symbol always indicates the rootorthe [bottom note of the chord. The letters and numbers on the fight indicate the chord type major ar dominant for example), Chord Name Chord Symbol (CMajor Seventh Oma? ‘Dominant Seventh C7 ‘Minor Seventh Cmi7 33. MAJOR SEVENTH CHORD WORKOUT (Cij7) (Play ender rate) 34. DOMINANT SEVENTH CHORD WORKOUT (C7) (Peay either note) se 35. MINOR SEVENTH CHORD WORKOUT (0/7) (Play either note} =3 The Dominant Seventh Chord is « “jazzy” chord Because of ts fattened seventh (often called a blue note) the Dominant Seventh Chord has. very Jazzy” or bluesy"sound, The Blues Progression ‘The harmony of jazz song i called the chord progression. The most comman chord progression in jazzis the blues, Usually the blues is a twelve-bar repaated pattern using three Dominant Seventh Chords. The rots (bottom notes} r ofthese three chords are usually the frst fourth, and fith notes ofthe key ofthe blues. 36. LISTEN TO THE BLUES PROGRESSION — B> Concert c7 #7 C7 67 (7 ¢7 Chord I¥.choret ichord Vchord Vchord | chord12 37. BLUES WORKOUT - Roots and Sevenths 07 ¢7 CA 7 o7 3 Se 3 38. BLUES WORKOUT - Roots, Thirds, and Sevenths 7 c7 $7. Ft ¢7 $ > > > 39, MAKE UP YOUR OWN - 2-Bar Solos using Roots, Thirds, and Sevenths C7 gana Solo £7800 > > 3 7 7 7 7 gi 7 eana ee or . 7? Building the Dominant Scale You can bulld ‘dominant scale" by inserting notes between the chord tones ofthe Dominant Seventh Chord. This scale “its” (sounds Ike) the Dominant Chord Dominant Chord Makes o Seale: Dominant Scale = ee = ° 7 é 40. BLUES WORKOUT - Dominant Scale C7 c7 7. 07 of 67 07 big) ; sate a Se i ge peat f 41, BLUES WORKOUT - Scale steps 1, 2, and 3 ¢7 cr gd ft 073 42. BLUES WORKOUT - Scale steps 1 through 5 c7 7. 7 47 7 C7 43. BLUES WORKOUT - Seale steps 1 through 5, and 57 7 ‘7. 07 67 #7 7 44. MAKE UP YOUR OWN - 2-Bar Solos fn 7 Band Sole Band, 0 @ fr 07 45. OUR FIRST BLUES - Full Band Arrangement with Solos 07 AM a Mike Steinel cr AoW. 67, Fr c7 Dane a > a ee C7 Sola Section use notes trom the scates shown) fa c7 Pa ‘7 07 2.0, AL FINESt. Louis Blues (composed byw Handy) 46, RHYTHM WORKOUT Saeie. > > > eeu) ‘Dao Sah Doo Beh {88h Deo Bah Dit Deo Bah Doo ith Dosh Bah Doo th Dit Doo Bah sana £5 Ss > > > (2p Bah Do0 83h 88h Doo Bah Ox Doo Bah 47, MELODY WORKOUT aay: > = > > > W.C. Handy, often called “The Father OF The Blues” yas a famous composer, bandleader and music publisher, He was one cf the first musicians to recognize the commercial potential of Arican/American folk usic and he worked to incorporate these influehcésinto the arrangements for his nine-piete orchestra Harmony Review Innc36 we leamed about the blues progression in'By concert. Our version oF St. Louis Blues uses a simillarchord progression but in adifferent key:G (F concert). 48. LISTEN TO THE CHORDS FOR ST. LOUIS BLUES 7 0 67 7 60? gs? 1Ghord Wehord 1Chord Vchord iVChord Chord 49. BLUES WORKOUT FOR ST. LOUIS BLUES - Roots, Thirds, and Sevenths 64 7 r 50. BLUES WORKOUT FOR ST. LOUIS BLUES - Scale steps 1 through 5, and >7 0?