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This is created from C major scale.
Every other note in a group of: 4,5,6 and 7 notes.
Now continuing with playing chord changes arpeggio style - in one position.
Using the chord progressions previously covered (Part II and part III)
substitute the following dominant chords - arpeggio style.
This list includes diatonic dominant chords (within the key)
and non-diatonic dominant chords (outside of the key).
Remember to play all of these arpeggio style up in tone (ascending)
and then back down in tone (descending).
The natural tension tones for G dominant seventh are:
G7, G9, G11, G13.
When the dominant seventh is played for many measures it
is non-functioning.
Common practice is to use the natural tensions for non-functioning.
These chords are created from the C major scale using every other note in a group of: 4,5,6 and 7 notes.
G7 = R, 3, 5, b7 = G, B, D, F
G9 = R, 3, 5, b7, 9 = G, B, D, F, A
G11 = R, 3, 5, b7, 9, 11, = G, B, D, F, A, C
G13 = R, 3, 5, b7, 9, 11, 13 = G, B, D, F, A, C, E
When a dominant chord is played with a series of other chords like:
I, vi, ii , V7 in the key of C major: C maj //// Am //// Dm //// G7 ////
this is a functioning dominant seventh. Usually the dominant chord is played for one measure or less. Common practice is to use the altered tensions or functioning dominant chords.
An altered tension means to sharp or flat the
5th or the 9th degree of the dominant chord.
G7b5 = R, 3, b5, b7 = G, B, Db, Bb
G7#5 = R, 3, #5, b7 = G, B, D#, Bb
G9b5 = R, 3, b5, b7, 9 = G, B, Db, Bb, A
G9#5 = R, 3, #5, b7, 9 = G, B, D#, Bb, A
G11b5 = R, 3, b5, b7, 9, 11 = G, B, Db, Bb, A, C
G11#5 = R, 3, #5, b7, 9, 11 = G, B, D#, Bb, A, C
G13b5 = R, 3, b5, b7, 9,11,13 = G, B, Db, Bb, A, C, E
G13#5 = R, 3, #5, b7, 9,11,13 = G, B, D#, Bb, A, C, E
G7b9 = R, 3, 5, b7, b9 = G, B, D, F, Ab
G7#9 = R, 3, 5, b7, #9 = G, B, D, F, A#
G11b9 = R, 3, 5, b7, b9,11 = G, B, D, F, Ab, C
G11#9 = R, 3, 5, b7, #9, 11 = G, B, D, F, A#, C
G13b9 = R, 3, 5, b7, b9,11,13 = G, B, D, F, Ab, C, E
G13#9 = R, 3, 5, b7, #9, 11,13 = G, B, D, F, A#, C, E
Remember to use the diatonic chords from each scale type, then the non diatonic chords. Usually the the non diatonic dominants are used for
Functioning dominants (one bar or less)
and the diatonic dominant chords are used for Non-Functioning (many bars).
Remember always experiment to find what you personally prefer.
Now transpose these to each position of your instrument, then to all 15 keys.
All materials copy-write 2010. For personal use only.
Vince Lauria Sun and Earth Music
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