Improvising Over Dominant Chords

FENDER PLAYERS CLUB JAZZ GUITAR

From the book:

Hal Leonard Guitar Method:JAZZ GUITARby Jeff Schroedl

#HL 695359 Book/CD $14.95 (US).

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There are seven different scales that work well over dominant chords. Following is an explanation of when and how each scale is used, along with common licks to both help illustrate the resulting sounds and develop your vocabulary.

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by Jeff Schroedl

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Mixolydian (1-2-3-4-5-6-b7)The Mixolydian mode is best suited for playing over unaltered dominant chords (e.g., 7th, 9th, 11th, 13th). It effectively complements these chords in both cadential, or functioning, harmonic progressions (such as a resolving V–I progression) and non-cadential, or non-functioning, harmonic progressions (such as a non-resolving V–IV progression).

Phrygian Dominant (1-b2-3-4-5-b6-b7)Phrygian dominant, the V mode of harmonic minor, is best suited for playing over 7b9, 7#9, or 7b9/#5 chords. It also works well over unaltered dominant chords. The scale is usually used in cadential harmonic progressions that resolve to either a im7 or Imaj7 chord.

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5 4

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5

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10 10

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13 13 1213 12 10

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Lydian Dominant (1-2-3-#4-5-6-b7)The Lydian dominant scale (a.k.a. Mixolydian #4) is best suited for playing over 7#11, or 7b5, chords. It also works well over unaltered dominant chords. The scale is usually used in non-cadential harmonic progressions.

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2

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Super Locrian (1-b2-b3-b4-b5-b6-b7)The super Locrian scale (a.k.a. the altered scale) is best suited for playing over altered dominant chords (e.g., 7#9, 7#5, 7b9, 7b5, 7#9/#5, 7b9/b5, 7#9/b5, 7b9/#5). Since the alterations create so much dissonance, the scale is almost always used in cadential, or resolving harmonic progressions.

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Dominant Diminished (1-b2-#2-3-#4-5-6-b7)The dominant diminished scale (a.k.a. half-whole diminished) is best suited for playing over chords with b5, b9, and #9 alterations. It also works well over unaltered dominant chords. The scale is usually used in cadentialharmonic progressions.

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œb œb œ œ œb œb œb œbG7

6 4 36 4

4 36

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5

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œ œb œ œ œb œb œb œbG7

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10

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Whole Tone (1-2-3-#4-#5-b7)The whole tone scale is best suited for playing over 7#5 chords, but it also works well over unaltered dominant chords. The scale can be used in both cadential and non-cadential harmonic progressions.

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Mixolydian b6 (1-2-3-4-5-b6-b7)Mixolydian b6, the V mode of melodic minor, is best suited for playing over 7#5 and 9#5 chords (note that the 9th degree should not be altered). It also works well over unaltered dominant chords. The scale can be used in either cadential or non-cadential harmonic progressions.

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3 5 34 4 6

4 6

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11 1310 12 14

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