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    Single-Note Playing - Dominant 7th Scales

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    dave
    The document discusses four scales that can be used over dominant 7th chords: 1) The Mixolydian scale which uses the notes of the Mixolydian mode. 2) The Overton Dominant scale which uses the notes of the Mixolydian mode plus a sharpened 4th degree. 3) The Altered Dominant scale which uses a flattened 9th, sharpened 9th, natural 3rd, either a flattened or sharpened 5th, and a sharpened 5th. 4) The Spanish Gypsy scale which uses a flattened 9th, natural 3rd, natural 4th, natural 5th, either a sharpened 5th or flattened

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    Single-Note Playing - Dominant 7th Scales

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    dave
    55 views8 pages
    The document discusses four scales that can be used over dominant 7th chords: 1) The Mixolydian scale which uses the notes of the Mixolydian mode. 2) The Overton Dominant scale which uses the notes of the Mixolydian mode plus a sharpened 4th degree. 3) The Altered Dominant scale which uses a flattened 9th, sharpened 9th, natural 3rd, either a flattened or sharpened 5th, and a sharpened 5th. 4) The Spanish Gypsy scale which uses a flattened 9th, natural 3rd, natural 4th, natural 5th, either a sharpened 5th or flattened

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    Dominant7thScales 1976-04-18

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    The document discusses four scales that can be used over dominant 7th chords: 1) The Mixolydian scale which uses the notes of the Mixolydian mode. 2) The Overton Dominant scale which uses the notes of the Mixolydian mode plus a sharpened 4th degree. 3) The Altered Dominant scale which uses a flattened 9th, sharpened 9th, natural 3rd, either a flattened or sharpened 5th, and a sharpened 5th. 4) The Spanish Gypsy scale which uses a flattened 9th, natural 3rd, natural 4th, natural 5th, either a sharpened 5th or flattened

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    55 views8 pages

    Single-Note Playing - Dominant 7th Scales

    Uploaded by

    dave
    The document discusses four scales that can be used over dominant 7th chords: 1) The Mixolydian scale which uses the notes of the Mixolydian mode. 2) The Overton Dominant scale which uses the notes of the Mixolydian mode plus a sharpened 4th degree. 3) The Altered Dominant scale which uses a flattened 9th, sharpened 9th, natural 3rd, either a flattened or sharpened 5th, and a sharpened 5th. 4) The Spanish Gypsy scale which uses a flattened 9th, natural 3rd, natural 4th, natural 5th, either a sharpened 5th or flattened

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    © All Rights Reserved
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    of 8

    Single-Note Playing – Dominant 7th Scales

    Ted Greene — 1976, April 18 & 20

    Due to certain principles of harmony (such as 1. the Secondary Dominant principle, 2. the Cross-Cycle
    principle, 3. Blues Color Chords, and 4. Common Tone Color Chords – Chord Homonyms), you will encounter
    dominant 7th type chords on all 12 degrees of a key……if this is not clear to you, you should be studying these
    concepts now.
    Anyway, you will find that you’ll have to be able to think of dominant 7th chords as separate entities, not
    only as the V7 of some key or scale.
    Most of the best sounding dominant 7th scales are listed below and on the following pages. First, just get
    familiar with the fingerings and the sound (try playing the given chord and then the scale) and then try applying
    them to the progressions that will be given at the end of this whole section, and apply them to some of your favorite
    songs. Also, the arpeggios should proved to be a help in creating some great sounds, so check them out carefully.
    All scales will be given as A7’s, but should be transposed to the other indicated 7ths (next to each scale).

    1) MIXOLYDIAN SCALE — 1, 2, 3, 4, 5, 6, b7, 8. Given as A7 – transpose to D7, G7, C7, F7


    &E#7, Bb7 & A#7, Eb7 & D#7, Ab7 & G#7, Db7 & C#7, F#7 & Gb7, B7 & Cb7, and E7.
    Single-Note Playing – Dominant 7th Scales Ted Greene, 1976, April 18 & 20 — page 2
     
     
     

    1) MIXOLYDIAN SCALE (continued):

    ___________________________________________________________________

    2) OVERTONE DOMINANT SCALE – 1, 2, 3, #4, 5, 6, b7, 8. Given as A7 – transpose as above.


    Single-Note Playing – Dominant 7th Scales Ted Greene, 1976, April 18 & 20 — page 3
     
     
     

    2) OVERTONE DOMINANT SCALE (continued):

    Some other arpeggios that work with the A overtone scale are the A9, A13, and all arpeggios of the E
    melodic minor scale.

    ___________________________________________________________________
    Single-Note Playing – Dominant 7th Scales Ted Greene, 1976, April 18 & 20 — page 4
     
     
     

    3) ALTERED DOMINANT SCALE — 1, b9, #9, 3, (b5 or #11, or use §5), #5, b7.
    Given as A7, but transpose to all 7ths as given before.

    This whole position [3rd position] sounds better in a higher register (higher key).
    Single-Note Playing – Dominant 7th Scales Ted Greene, 1976, April 18 & 20 — page 5
     
     
     

    3) ALTERED DOMINANT SCALE (continued):

    ___________________________________________________________________

    4) SPANISH GYPSY SCALE — 1, b9, 3, 4, 5, #5-b6, b7. Given as A7, but transpose as before.
    Single-Note Playing – Dominant 7th Scales Ted Greene, 1976, April 18 & 20 — page 6
     
     
     

    4) SPANISH GYPSY SCALE (continued):

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