12 Scales You Can Play Over a Dominant 7 Chord

12 Scales You Can Play Over a Dominant 7 Chord

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12 Scales You Can Play Over a Dominant 7th Chord By Stef Ramin / On 16/08/2016 / 0 comments The first thing to do before starting exploring the twelve different scales shown in this lesson is to understand how to build a basic dominant 7th chord and what its role is. What's a dominant 7 chord Dominant 7th chords are made up of a root / tonic (1), a major third (3), a perfect fifth (5) and minor seventh ( b7). It is the most versatile of any chord. It is considered as a major chord because of its major third (3). Indeed the 3rd tell us if the chord is minor or major. The minor seventh ( b7) indicates whether the sound wants to move or not (resolve) to another chord. Usually dominant chords tend to resolve to a chord down a perfect fifth (or a chord up a perfect fourth). C dominant 7th chord Intervals Related Arpeggio

C 1 1

E 3 3

G 5 5

Bb b7 b7

Dominant 7th basic guitar positions Because it is very important to make the association between scales and chords, you must be able to play several basic dominant 7th chord positions on guitar. Here are three basic guitar positions that will help you. These guitar diagrams represent a D7 chord. Please note that the root is the orange note, the minor seventh is the green note and the major third is the note in blue. The principle is the same for the two other diagrams. Any jazz guitar student must be able to play these three guitar positions in twelve keys and make the link between them and the scales below. D7 guitar position 1, root on the sixth string. The black note is the fifth, free to you to play it.


D7 guitar position 2, root on the fifth string. There is no fifth in this diagram, the black note is the octave of the

main root.

D7 guitar position 3, root on the fourth string. The fifth is the black note.

12 scale charts and guitar shapes The Mixolydian mode - Dominant 7th scale The Mixolydian mode is surely the most obvious choice when you want to improvise over dominant 7th chords. It is built with a root (1), second (2), minor third ( b3), perfect fourth (4), perfect fifth (5), sixth (6) and minor seventh (b7). Also called dominant 7th scale, it is the fifth mode of the major scale related to the fifth chord of the harmonized major scale. Indeed scale. Indeed when you stack the 1, b3 , 5 and b7 of the Mixolydian scale you get a dominant 7th chord. C mixolydian mode

C

D

E

F

G

A

B b

Formula

1 W

2 (9) W

3 H

4 (11) W

5 W

6 (13) H

b7

Intervals

W


The dominant bebop scale The dominant bebop scale is an eight-note scale (octatonic). It contains the same notes as the previous Mixolydian mode including a chromatic passing tone, a major seventh (7), between the minor seventh ( b7) and the root (1). This passing should never be played on the downbeat, but preferably on the upbeat. The chart below shows you how to build the G dominant bebop scale. You can notice the chromatic passing tone is the yellow note (B b). C Dominant bebop scale

C

D

E

F

G

A

B

B b

Formula

1 W

2 W

3 H

4 W

5 W

6 H

b7

7 H

Intervals

H

The Lydian dominant scale The Lydian dominant scale is the fourth mode of the melodic minor scale. You can think it as the Mixolydian mode with a raised fourth (#4) or raised eleventh (#11) also used to be called a b5. You will understand, it is designed to work over 7#11 chords or any dominant 7th chord when you want to highlight the #11. C lydian dominant scale

C

D

E

F#

G

A

B b

Formula

1 W

2 (9) W

3 W

#4 (#11) H

5 W

6 (13) H

b7

Intervals

W


The Mixolydian b13 scale The Mixolydian b13 or b6 scale is the fifth mode of the melodic minor scale. In comparison with the Mixolydian mode it has a flat (b6) instead of a natural sixth, hence its name. Playing this scale over a dominant 7th chord brings a little bit of tension and has a very melancholic sound. C mixolydian b13 mode

C

D

E

F

G

A b

B b

Formula

1 W

2 (9) W

3 H

4 (11) W

5 H

b6 (b13)

b7

W

W

Intervals

The Phrygian dominant scale The Phrygian dominant scale, also called altered Phrygian scale is the fifth mode of the harmonic scale. It has has a very particular sound because of its minor second ( b2) and its minor sixth ( b6). This scale can be applied to dominant 7th chords when you want to produce a 7 b2b13 sound in your jazz improvisations. C phryian dominant scale

C

D b

E

F

G

A b

B b

Formula

1 H

b2 (b9)

3 H

4 (11) W

5 H

b6 (b13)

b7

W

W

Intervals

W


The altered scale The altered scale or superlocrian scale is the seventh mode of the melodic minor scale. It contains four altered tones that bring tension, b9,#9, #11 b13. That's why it should be used with caution not to stay on it too long. The scale is designed to be played over 7#9, 7 b9, 7b5, 7#5, 7#11, 7 b13 and many other altered chords. C altered scale

C

Db

D#

E

F#

G#

B b

Formula

1 H

b9

#9 H

3 W

#11

b13

b7

W

W

H

Intervals

W

The major pentatonic scale The major pentatonic scale as its name implies, is made up of five notes, it is surely the easiest scale to play over a

dominant 7th chord. It produces a ninth (9) and a thirteenth (13) sound. C major pentatonic scale

C

D

E

G

A

Formula

1 W

2 (9) W

3 H+W

5 W

6 (13) W+H

Intervals

The minor pentatonic scale The minor pentatonic scale is played over dominant 7th chords when you want to bring a blues feel to your jazz lines. As lines. As it is explained at the beginning of this lesson, dominant 7th chords contain a major third (3) and minor pentatonic scales has a minor third (b3). Mixing major and minor tonality, the clash cl ash of the minor and major thirds, t hirds, it is that blues thing. C minor pentatonic scale

C

E b

F

G

B b

Formula

1 W+ H

b3

4 H

5 W +H

b7

Intervals

W

W


The major blues scale The major blues scale is a hexatonic scale it contains six notes including an added minor third ( b3 / b10) between the second (2) and the major third (3). This is the major pentatonic scale with a passing tone. C major blues scale

C

D

E b

E

G

A

Formula

1 W

2 (9) W

b3 (b10)

3 H+W

5 W

6 (13) W+ H

Intervals

The whole tone scale The whole tone scale is the first in a series of symmetric scales. This type of scales consists of repeated symmetric intervals. The whole tone scale consists of a succession of whole tone intervals, the octave is divided in six equal parts. It contains a raised eleventh (or #11) and a raised fifth (#5) that can c an bring interesting interesti ng tensions and funny new colors to your jazz guitar solos. C whole tone scale Formula Intervals

G 1 W

A 2 W

B 3 W

C# #11 (or #4) W

D# #5 W

F b7 W


The dominant diminished scale The dominant diminished scale also known as half-tone whole-tone scale is a symmetric scale built by alternating half-steps and whole-steps. You can play this scale over dominant 7th chords, theoretically 7 b9 chords, when you want to produce interesting tensions and create outside sounds in your jazz and blues guitar improvisations. This way you highlight the b9, #9 and #11. C dominant diminished scale Formula Intervals

C Db 1 b9 H W

Eb E 3 # 9 H W

F# 11 or b5 # 11 H

G 5 W

A 13 (6) H

Bb b7 W

The chromatic scale The chromatic scale contains the twelve musical notes. It is a scale where every note is a semi-tone (or halfstep) apart. As you can see in the the chart below the chromatic scale has no intervals larger than a semi-tone. Unlike other scales, it doesn't have chords associated with. The first approach to familiarize yourself with is to play each consecutive frets, up or down on the guitar. This symmetric scale is rarely played over an entire guitar solo, but maybe useful when mixed with more conventional dominant scales. C chromatic scale (ascending) Formula

C C# 1 b2

D 2

D# E F F# G 3 4 b5 5 b3

G# b6

A 6

A# b7

B 7


Conclusion The best way to take the most of this lesson is to experiment each scale by playing them over a dominant 7th backing track . Try to play them ascending and descending, try to create fluid lines using arpeggios and patterns. Try to incorporate these lines into common jazz progressions as minor and major II-V-I, blues, turnarounds, bridges. And remember, playing the corresponding chord after or before playing each eac h scale s cale is an excellent way to develop your musical ear.

49 Essential Jazz Lines This downloadable eBook in PDF format provides 49 jazz solo transcriptions of the greatest jazz musicians of all times with TABS, standard notation and analysis both for guitar teachers and students. Learn to play essential jazz patterns to increase your playing skills.

25 pentatonic licks Did you know that there are several pentatonic scales ? This jazz guitar method is an eBook available as a PDF with standard notation, guitar tabs, diagrams, analysis, audio files and backing tracks. You will find in this booklet 25 easy jazz guitar lines built with common and rare pentatonic scales.

20 II-V-I jazz guitar licks The 2-5-1 sequence is the most common chord progression found in jazz music.It's a must know for anyone who wants to learn jazz language.This method is a printable PDF eBook with 20 II-V-I jazz guitar lines both in major and minor keys that will help you expand your improvisation skills over this chord sequence.

5 Jazz blues arpeggio studies A printable PDF eBook with tabs and standard notation containing five guitar studies that will help you to master arpeggios over a jazz blues progression. Many topics are discussed, dominant 7, minor 7, diminished arpeggios.

50 II-V-I voicings How to comp a II-V-I chord progression on guitar with drop 2, drop 3 chords, rootless and inverted voicings. This efficient method is a printable PDF eBook that contains 50 exercises with analysis, tabs & standard notation that will help you to play the essential jazz guitar chords over the famous II-V-I progression.


11 blues jazz studies This PDF method contains 11 guitar lessons with chords, tabs, standard notation, analysis & audio files about the main blues progressions used in jazz music. The purpose of these studies being to hear, play and understand the main jazz-blues changes by using different chord voicings as drop drop 2, drop, 3, rootless.

Mastering the altered scale This PDF eBook method contains 25 altered jazz guitar licks with tabs, patterns, scale charts and audio files to learn to master the altered scale. How to develop the altered scale, how to apply it to the V of a II-V-I sequence.

40 Blues Dominant patterns This printable method is available as a PDF file containing 40 easy dominant jazz-blues guitar lines with tabs, standard notation, analysis and scale charts.

25 soul jazz guitar licks You will find here an eBook available in PDF containing 25 soul jazz and hard bop guitar licks with tabs and standard notation in the style of Grant Green, Melvin Sparks, George Benson.These jazz lines come with tabs, standard notation, guitar neck diagrams, backing track for practice and 25 audio files for each riff.

25 dominant diminished licks This eBook PDF contains 25 dominant diminished jazz guitar patterns using the half-whole diminished scale and some diminished 7th arpeggios.

25 minor jazz guitar licks This printable PDF eBook contains 25 minor jazz guitar licks with tabs, video links, analysis. How to play modes, scales & arpeggios over minor chords.

5 Tritone substitution licks The tritone substitution is explained through 5 jazz guitar licks with tabs/notation, youtube video links and backing track links. Printable PDF eBook

DIMINISHED SCALES

DOMINANT 7TH SCALES

JAZZ GUITAR IMPROVISATION GUITAR SCALES

SCALES

JAZZ LESSON

JAZZ GUITAR LESSON

JAZZ GUITAR

DOMINANT SCALES


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12 Scales You Can Play Over a Dominant 7 Chord

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