20/5/2016 10 

Ways To Dominate Your Dominant Chords
(http://www.freejazzlessons.com/premium/)
Get My Best Jazz Piano Secrets In The Comfort Of Your Own Home Click Here To Learn How

(http://www.freejazzlessons.com/)

Home Products Coaching About ▾ Jazz Blog Contact Us Jazz Masters Login Premium Login Premium Lessons

The #1 Jazz Piano Learning System.

Steve Nixon (http://www.freejazzlessons.com/author/stevenixonmusic/)

10 Ways To Dominate Dominant

Seventh Chords
Jazz Scales Demysti†ed
Do you want to learn more about playing jazz scales and soloing over
dominant chords? Awesome.

This article on jazz scales and many other articles on this website will
help you. 
(http://www.freejazzlessons.com/premium/)
To get started quickly you can check out any of the 3 jazz scale lessons below.
Click Here To Learn More Now
3 important minor jazz scales (http://www.freejazzlessons.com/3-jazz-
scales/) – A free video lesson on how to play and use 3 important minor jazz
scales.  

How To Use The Blues Scale Over Jazz Tunes

(http://www.freejazzlessons.com/blues-scale-bebop-over-a-jazz-standard/) –
Learn how to use one of the most popular scales over essential jazz tunes. Want To Be A Better
Jazz Musician? 
Major bebop scale piano lesson (http://www.freejazzlessons.com/major-
bebop-scale/) – One of the most fundamentally important scales used in jazz Get Free Jazz Piano Lessons
improvisation and playing over chords progressions in a major key.
Sent To Your Inbox Now!

Name
Want to learn about dominant jazz scales? Keep reading the lesson
below. Email

—- Choose Your Playing Level
Select....
Learning to solo over dominant 7th chords and its myriad alterations is
not just an important skill for any jazz improviser to possess. It is
essential.

7th chords can be altered in various ways, and applied to a number of jazz
song situations in both major and minor keys.

Ignite Your Jazz Improv Skills

So, take some time in the practice room to explore the 10 dilerent scales
and modes that can be used to improvise over 7th chords.

It might take some time to get these sounds fully into your ears and under
your 薈ngers.

When you arrive at a point where you feel comfortable navigating any 7th
chord in any musical circumstance, you’ll be glad you put the time in to really
digest these 10 scales and modes.

(There is also this video lesson you should check out where we discuss
dominant chords more in depth dominant chords video
(http://www.freejazzlessons.com/how-to-play-extensions-on-dominant-
seventh-chords/).)

7th: Mixolydian Mode

(http://www.freejazzlessons.com/jazzmastersmethod/)

(https://b3145a19954318e1f21d-
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Mixolydian.jpg)

Explore Our Lessons

http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 1/9
20/5/2016 10 Ways To Dominate Your Dominant Chords
Explore Our Lessons
 (C L I CK TO EXP A N D)

The Mixolydian Mode is the bread and butter choice when improvising over Recent Most Popular
any 7th chord.

It is the 5th mode of the major scale system and as such is contains all the Pentatonic Scale Piano
notes of the plain 7th chord, R-3-5-b7-9-11-13, without any alterations to the Made Easy
(http://www.freejazzlessons.com/pentatonic-
sound of the chord.
scale-piano/)
Though it is pretty plain sounding compared to the other scales in this How To Practice Piano – Use
articles, it is still probably the most important in terms of beginning to Your Time Tips
explore improvising over 7th chord sounds. (http://www.freejazzlessons.com/piano-
practice-collection/)
It can act as a solid foundation for you to build upon when learning the
Play Blues Piano – A Special
other dominant 7th sounds. Resources Collection
(http://www.freejazzlessons.com/how-
This scale can easily be applied to any V7 chord in a iim7-V7-Imaj7 progression to-play-blues-piano-
(http://www.freejazzlessons.com/i-vi-ii-v-i-chord-progression-jazz-chords/), as resources/)
well as to any 7th chord found in the blues, I7, IV7 and V7.
Beautiful Blues Piano
Chords
Basically, whenever you have a dominant 7th chord that doesn’t resolve to a
(http://www.freejazzlessons.com/blues-
m7 chord, you can test the waters with Mixolydian as a good starting
piano-chords-tutorial/)
point for your improvisation, before heading into the alterations provided
Blues Piano Tutorial: How
by the other modes below.
To Play Big Blues Licks
(http://www.freejazzlessons.com/blues-
7th: Dominant Bebop Scale piano-tutorial/)

Tasty Blues Piano Licks #1

(http://www.freejazzlessons.com/blues-
piano-licks/)

How To Play Blues Piano –

(https://b3145a19954318e1f21d- Turnarounds
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Bebop- (http://www.freejazzlessons.com/how-
Scale1.jpg) to-play-blues-piano-
turnarounds/)

(C LI C K TO E XP A ND )

The Dominant Bebop Scale is built by adding a major 7th interval to the
Mixolydian mode, creating an eight-note scale that has both a b7 and a nat7. Brand New DVD: Learn World
Class Blues Piano Secrets
The extra note is used to create a chromatic passing note movement between
the Root and the b7, giving this scale a unique sound as it has three half-steps
in a row between those two chord tones.

Here’s a video of Steve Nixon teaching the scale.

Free Dominant Bebop Scale Lesson

(http://www.freejazzlessons.com/breakthroughblues/)

Click Here To Explore This Program.

This is one of the most commonly used scales in all of jazz, especially Bebop.
This scale can be found in the solos of many of the greatest jazz improvisers in “Best Way to Learn Jazz Piano”
history.

It can be used in a similar fashion as a Mixolydian mode, over 7th chords in a

iim7-V7-Imaj7 progression and all the 7th chords in a blues.
So, it is often used in place of the Mixolydian scale when the soloist wants to
add in chromatic notes without getting too far away from the fundamental
sound of the 7th chord.

One of the most popular ways to spice up this scale is to thread Bebop scale
(http://www.freejazzlessons.com/dominant-scale-lesson/) patterns throughout
http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 2/9
20/5/2016 10 Ways To Dominate Your Dominant Chords
(http://www.freejazzlessons.com/dominant-scale-lesson/) patterns throughout
the mode in order to inject standard vocabulary into any Bebop scale line.

Adding enclosures, chromatic approaches

(http://www.freejazzlessons.com/category/approach-patterns/) and arpeggios
in allows you to come back to this scale time and again in any solo without
sounding repetitive or like you are relying too much on one sound for your (http://www.freejazzlessons.com/premium)
ideas.
Click the image above to get access
This is a must know scale for any serious jazz improviser.

Here’s a great lick that features the bebop scale interwoven w/ chromatics
bebop scale lick (http://www.freejazzlessons.com/how-to-play-a-bebop-piano-
lick-ii-valt-i/).

7#11: 4th Mode Melodic Minor

(https://b3145a19954318e1f21d-
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Mixolydian-
11.png)

 (C L I CK TO EXP A N D)

Taken from the fourth mode of the melodic minor scale, this mode goes by
several di耀ଠerent labels including Lydian-Mixolydian, Lydian b7, Mixolydian #11
and Lydian Dominant.

Regardless of which label you prefer for this scale, it is an important tool in the
repertoire of any jazz improviser.

The scale is built like Mixolydian mode, except that it has a raised fourth in the
scale, creating a 7(#11) chord symbol.

Because the raised fourth has a “sharper” sound than a natural fourth interval,
this mode has a distinctly brighter sound than its cousin the Mixolydian mode.

Since it does have one alteration, the raised 4th, this scale needs to be used
with a bit more caution then the Mixolydian, when inserting it into an
improvisation.

It can be used over any 7th chord in a blues, see Sonny Rollins’ classic jazz
tune “Blue Seven” for an example of how this is done, as well as the V7 chord
in a iim7-V7-Imaj7 progression.

Whether or not it will sound good is determined by the vibe of the tune, where
you just were in the progression and where you are going next.

So, feel free to experiment with this mode in your improvising, but be aware
that there may be instances where theoretically you can use the #11 sound,
but in practicality it doesn’t sound great, and vice-versa.

7b13: 5th Mode Melodic Minor

(https://b3145a19954318e1f21d- (http://www.freejazzlessons.com/wp-
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Mixolydian- content/uploads/2015/06/steve.jpg)
b13.png) Steve Nixon is the proud owner of

Freejazzlessons.com. He is a world
(C LI C K TO E XP A ND ) touring jazz and blues keyboard
The 薈fth mode of the melodic minor scale can also be used to improvise over player and educator. Steve is the
a 7th chord. author of Premium Jazz Lessons Elite
Membership
In this instance we also have one alteration, as we did with the fourth mode of (http://www.freejazzlessons.com/premium)
this scale, only this time the sixth has been 翾attened to create a 7(b13) sound. (A comprehensive all-in-one online
jazz piano course.)He is also the
One of the great things about this mode is that there is both a natural 薈fth author of the The Jazz Masters
and 翾at sixth interval present, creating an extra half-step between the two Method DVD
http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 3/9
20/5/2016 10 Ways To Dominate Your Dominant Chords
and 翾at sixth interval present, creating an extra half-step between the two Method DVD
that you can use to create tension and release lines in your solo. (http://www.freejazzlessons.com/jazzmastersmethod)
(A study of 9 legendary jazz piano
Though this mode has an alteration, it can still be used in a wide variety of players).
circumstances. It will sound good over the V7 chord in a iim7-V7-Imaj7 and
If you are a blues piano fan you can
over any 7th chord in a blues when used sparingly.
also check out his popular Learn
Blues Piano DVD Course
Again, as was the case with the fourth mode of melodic minor, while this
(http://stevenixonmusic.net/learn-
mode can be used in those circumstances, it won’t always sound great
blues-dvd) .
depending on the circumstances.

Feel free to experiment with using this scale over di耀ଠerent tunes and in
di耀ଠerent situations when you encounter a 7th chord.

But, don’t let theory (http://www.freejazzlessons.com/jazz-theory-ii-v-i/) dictate  

whether or not you use it in a practical situation. Let your ears and tastes tell
you whether this sound is right or not for any particular tune and progression.

It is always a good idea to take any new scale, especially one with an
alteration, into the woodshed before you bring it out on stage or into a jam
session.

This will give you ears a chance to adjust to the new sound of the mode, and
you’ll be able to at least begin to 薈gure out where you like to use this or any
dominant mode in a real-world application.

7(b9,#9,b5,#5): Altered Scale (7th Mode Melodic Minor)

Links
(http://www.freejazzlessons.com/links/)
(https://b3145a19954318e1f21d- Privacy Policy
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Altered.png) (http://www.freejazzlessons.com/privacy-
policy/)

(C LI C K TO E XP A ND )

The next mode we will look at from the melodic minor scale (there are four in
total that work with 7th chords) is the seventh mode.

This mode can also be called the Super Locrian Scale, the Diminished Whole
Tone Scale and most commonly, the Altered Scale.

No matter what you decide to label this scale, it is one of the most
commonly used in jazz and is the fundamental scale choice for V7 chords
in minor keys.

The scale features all of the possible alterations one could use in any
dominant 7th chord, hence the name Altered Scale.

Here’s a video of Steve Nixon teaching the scale. 

Altered Scale Lesson

These alterations are the b9, the #9, the b5 and the #5. Because this mode is
薈lled to the brim with altered notes, it is great for creating tension that will
then need to be resolved when you arrive at the next chord in the
progression.

Because it doesn’t have any resolution notes, except the root, such as the 9th

http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 4/9
20/5/2016 10 Ways To Dominate Your Dominant Chords

or 5th, this scale is a tension builder, but these notes can’t be resolved outside
of going to the root while sticking to this mode.

So be cautious when applying this scale outside of a iim7b5-V7alt-Im7

progression, where the notes of the mode will be resolved to the notes in the
Im7 chord.

This scale can be used over the chords in a blues progression

(http://www.freejazzlessons.com/jazz-blues-chord-progression/) to create
tension, or in other instances where the next chord isn’t Im7.

If you decide to apply it to these situations you will need to proceed with
caution as you might 薈nd yourself stepping out over one chord, but not
薈nding a suitable way to get back and resolve on the next chord in the
progression.

Since this mode is so commonly used, you will be able to 薈nd countless licks
and phrases in the solos of your favorite players that use this scale.

That would be a great place to start when building your Altered Scale
vocabulary.

Transcribing licks (http://www.freejazzlessons.com/category/jazz-licks/) over

V7alt chords will allow you to get into the minds of the top players, building
your vocabulary and learning how they apply this mode to real-life situations
at the same time.

7Susb9: 2nd Mode Melodic Minor

(https://b3145a19954318e1f21d-
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Susb9.png)

(C LI C K TO E XP A ND )

The last mode of melodic minor that we will check out is built from the second
degree of the scale.

This mode is a bit quirky in its makeup, as there is no major third interval in
the mode. Instead, there is a b9, #9 and 11th (4th) in the mode, producing the
chord symbol 7(b9sus4). Not something you see every day!

Though it is a rare mode to use, you can 薈nd examples of this chord in the
playing and writing of Herbie Hancock, Wayne Shorter, Jim Hall and others.

Though it can be applied to instances in the standard repertoire, this mode

sounds best when used in a modal context, or when the composer or
arranger has written this speci薈c chord voicing into the chart.

While it may not be as popular as some of the other 7th chord modes, it does
produce a very unique sound, one that is worth checking out in the woodshed
to see if you can 薈nd a place to insert it into your playing.

13b9: 5th Mode Harmonic Major

(https://b3145a19954318e1f21d-
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Mixo-b9-
MelMaj.png)

(C LI C K TO E XP A ND )

A close relative of the Mixolydian scale, the 5th mode of the Harmonic Major
Scale is built like a Mixo but with the second note 翾attened to produce a
C7(b9) chord symbol.

It is a lesser-known mode as far as usage in traditional jazz improvisation.

http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 5/9
20/5/2016 10 Ways To Dominate Your Dominant Chords
It is a lesser-known mode as far as usage in traditional jazz improvisation.

Though, it is a valuable tool for any improviser as it is one of the few modes
that features a natural 13 and b9 within its makeup.

Because the only alteration is the b9, you can use this mode over any 7th
chord in a blues or in a iim7-V7-Imaj7 progression. Again, as was the case with
other modes featuring one alteration, circumstances and personal taste will
dictate when and where you can use this mode in a practical situation.

Try experimenting with it 薈rst in the practice room to get a handle on it before
taking it out on the bandstand to avoid any awkward moments in your solos
as you experiment with this sound.

Though it has a b9 interval, this scale doesn’t work over the V7 chord in a
minor key, mostly because the natural 13 over this chord is the major 3rd over
the tonic Im7 chord, breaking any connection it has to the tonic minor sound.

So, while it can be used in a number of instances in and around major keys, it
is advisable to avoid using this scale in the context of a minor key as the
natural 13th will sound very out of place in that context.

7b9b13: 5th Mode Harmonic Minor

(https://b3145a19954318e1f21d-

9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Mixo-
b9b13.png)

(C LI C K TO E XP A ND )

The 薈fth mode of the Harmonic Minor Scale is very similar to the 5th mode of
Harmonic Major, though in this case we do 薈nd a b13 interval in the scale,
creating a 7(b9,b13) chord symbol.

Because it has the b13, this scale can be used in a minor key context, which
was not the case with the previous mode.

This mode is a favorite improvisational device of players such as Cli耀ଠord

Brown, check out his solo on “A Night in Tunisia” to 薈nd him using this mode
to create some classic lines, and along with the Altered Scale is one of the
most important modes one can have in their minor key improvisational tool
belt.

This mode will work great over the V7 chord in a iim7b5-V7alt-Im7

progression, as the b9 and b13 resolve nicely to chord and scales tones found
in the Im7 sound.

To spice things up with this scale, you can add in the Bebop passing note,
from the Bebop Scale, between the Root and the b7, producing a run of four
chromatic notes in a row, b9-R-7-b7.

This was also a favorite alteration used by Cli耀ଠord Brown, among others, and
it’s a great way to bring the Bebop Scale 翾avor into your minor key soloing.

#11#5: Whole Tone Scale

(https://b3145a19954318e1f21d-
9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/Whole-
Tone.png)

(C LI C K TO E XP A ND )

The 薈rst symmetrical scale we will take a look at is the Whole-Tone Scale.

A symmetrical scale is di耀ଠerent from a normal scale or mode because the

intervals between each note in the scale are the same, whereas they di耀ଠer in
http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 6/9
20/5/2016 10 Ways To Dominate Your Dominant Chords
intervals between each note in the scale are the same, whereas they di耀ଠer in
the modes of the major, melodic minor, harmonic minor and harmonic major
scales.

In this case, the interval used is a whole-tone, hence the name. So, each note
in the scale is separated by a whole-step, producing a sound that is fairly
unique, one that has a uni薈ed quality to it that separates it from asymmetrical
modes.

This scale has both a #11 and a #5 interval, and so it produces the 7(#11,#5)
chord symbol.

This scale is a bit tricky to use in an improvisational context unless you see
that particular symbol. Because there is a #5 interval it kind of sounds good in
a minor key, but the natural 9 interval makes it sound like it 薈ts over a major
key.

So, take your time when working on this scale and try it in a number of
di耀ଠerent situations to see how it sounds to your ears when you apply it to a
7th chord that doesn’t have the #5 written directly into the chord symbol.

When used in the right moment this scale can be very e耀ଠective, but it does
tend to get overused by younger, more inexperienced players.

The results are often mixed at best. So be cautious with this scale and take the
time to absorb it in the practice room before venturing out onto the stage with
it.

13b9: Diminished Scale

(https://b3145a19954318e1f21d-

9214b92007cb720cc079101883a5c377.ssl.cf1.rackcdn.com/2012/01/13b9-
Diminished.png)

(C LI C K TO E XP A ND )

The last scale we will look at in this article is the second symmetrical scale on
our list, the Half-Whole Diminished Scale.

This scale is built by alternating half-steps and whole-steps, producing an

eight-note scale that has a b9, #9 and #11 in its construction.

Because of these alterations, this chord produces a 13(b9) chord symbol, and
again rests somewhere between minor and major tonalities.

This scale can be used in any circumstance when you want to have a natural
13 but a b9 interval.

Check out Jim Hall’s playing for tons of great examples of this chord and how
to apply this scale in a practical circumstance.

If you are using this scale in a spot where the chord is not written speci薈cally
as 13(b9) you want to proceed with caution. It can be used in some minor key
situations, but again be careful of the natural 13, which is the major 3rd in the
Im7 chord that this 7th chord resolves to.

It 薈ts well over a V7 chord in a major key, with a b9 and #9 alteration.

The Diminished Scale is a very popular choice for players when bringing
alterations over a 7th chord, but it needs to be used with caution as the
alterations as well as the natural 13th might cause you some headaches if you
don’t approach and resolve them in a proper way.

Final Dominant Scale Notes

Learning to improvise over Dominant 7th chords is an essential skill for any
jazz musician to possess. The chord is so versatile in terms of alterations as
well as how and where it is used in a musical context.

http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 7/9
20/5/2016 10 Ways To Dominate Your Dominant Chords
It provides a unique challenge for those musicians looking to dig deep into its
various colors and musical contexts.

By checking out the 10 scales and modes above, you will not only give yourself
tons of options when improvising over this scale, but you train your ears to
become comfortable to each of the di耀ଠerent chord colors that dominant 7th
chords provide.

(T HI S IS A GU E S T PO ST B Y L EE DS CO LLE GE O F MU S IC I NS TRU CTO R  MA TTHE W W AR NOCK

(H TT P ://W W W. MA TTW A RNO CK GUI TA R. COM/ ))******

ABOU T THE AUT HO R:  DR. M A TT HE W WAR NO C K I S A J AZZ E DUC A T O R

A ND P E RF O R MER I N MA N CH E STE R, UK. H E O WN S A N D O P ER A TE S

WW W. MAT TW ARN O C KGU I TA R . CO M

(H TT P :/ /W WW . MAT TW ARN O CK GU I TAR . CO M ), A F RE E O N L I NE RE SO UR C E

FO R J AZZ G UI T ARI S TS A ND IS O N TH E FAC U LT Y O F T HE L EE DS C O LL E GE

OF MUS IC .

RELATED POSTS

Do You Know Dominant Bebop

These 3 Scale Video
Important… Lesson
(http://www.freejazzlessons.com/3-
(http://www.freejazzlessons.com/dominant-
jazz-scales/) scale-lesson/)
22 Comments 10 Comments
(http://www.freejazzlessons.com/3- (http://www.freejazzlessons.com/dominant-
jazz- scale-
scales/#comments) lesson/#comments)

How To Add The The Altered Scale

Major Bebop – A…
Scale… (http://www.freejazzlessons.com/the-
(http://www.freejazzlessons.com/major-
altered-scale/)
bebop-scale/) 38 Comments
13 Comments (http://www.freejazzlessons.com/the-
(http://www.freejazzlessons.com/major-altered-
bebop- scale/#comments)
scale/#comments)

7 Comments Steve Nixon's Free Jazz Lessons 
1  Login

  Recommend  3 ⤤ Share Sort by Best

Join the discussion…

Colino  •  4 years ago
Thanks. This is great. I am just a little bit on the way with playing jazz and
would like to know your approach when putting together a long improv if
you don't mind. Do you stick with one approach (say mixolydian) for a while
and then move to another approach for a while and so on ­ or do you jump
around to different approaches in the same chorus?

Thanks.
2 △   ▽ • Reply • Share › 

Mattwarnockguitar > Colino  •  4 years ago
Hey Colino, glad you dug the lesson. If it's a longer solo I might
stick with one sound for a while, like Mixo, to help develop an idea.
Then switch to another sound as the solo develops, I tend to let my
ears guide me when it's time to mix things up. Hope that helps
1 △   ▽ • Reply • Share › 

Jackal  •  4 years ago
Very useful and clearly explained. The thing I like the most in this article is
the advicing about resolving to major or minor.
1 △   ▽ • Reply • Share › 

Mattwarnockguitar > Jackal  •  4 years ago
 Thanks Jackal, glad you dug the lesson!
△  ▽ • Reply • Share › 

Michael  •  a year ago
http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 8/9
20/5/2016 10 Ways To Dominate Your Dominant Chords
Michael  •  a year ago
Hi there
I wonder if you can momentarily indulge me, comment on something…

Context: I’ve been getting my head around and trying out rootless voicings
at the piano… after having enjoying playing
251 36251s, anything else seems fun etc, blues scales… Now branching
out more…
And also love theory/understanding how things connect. So, do you mind is
I
throw a few things out and you can say what you think…?

First thing… the bepop scale mentioned above/ ­ ie scale of mixolydian
mode with the added passing note, which makes three semitones at the
top….
That passing note is also the ‘money’ note in the blues scale of the tonic.. Ie
he
sharpened/augmented 4th!!

Such order in theory… it seems beautiful haha…!
see more

△  ▽ • Reply • Share › 

Zeit Geist  •  a year ago
This is awesome!!! Very comprehensive and enlightening.
△  ▽ • Reply • Share › 

Steve Nixon (freejazzlessons)  Mod   > Zeit Geist  •   a year ago

Thank you!
△  ▽ • Reply • Share › 

ALSO ON STEVE NIXON'S FREE JAZZ LESSONS

Learn Jazz Piano Comping
14 comments • 9 months ago
Steve Nixon (freejazzlessons) —
Here's a good quote Brian.
“Whether you think you can, or …
Major Chords – How To Play
Sweeter Sounding Chords
2 comments • 2 years ago
Steve Nixon (freejazzlessons) — Hi
EG fan, Theoretically you could
play both. It depends on the …

Blues Piano Tutorial: Learn A Cool Jazz Theory Basics: The Secrets
Right Hand Lick Behind The ii­V­I
12 comments • 4 months ago 5 comments • a year ago
Steve Nixon (freejazzlessons) — Steve Nixon (freejazzlessons) —
Glad to hear you enjoying the DVD! Thank you Martin!
We do have private lessons …

✉ Subscribe d Add Disqus to your site Add Disqus Add ὑ Privacy

http://www.freejazzlessons.com/jazz­scales­dominant­seventh­chords/ 9/9