![]() ![]() Or turn the whole thing into 16th notes! Making a turn into 16th notesĪnother cool thing about this scale is that you can think of it as two diminished 7th chords next to each other: Dominant Diminished Scale – 7th chords You can combine turns with the rhythmic variations we looked at earlier! You can make a turn a triplet followed by 8th notes: Turn as triplet followed by 8th notes A turn happens when you quickly play the note above the note you’re currently playing and turn back down, like this: C Diminished Dominant Scale – Turns Next, practice this scale in thirds: C Diminished Dominant Scale – ThirdsĪnother great melodic device you can use is turns. The beneficial byproduct of practicing this way is when you’re improvising, you’ll know exactly which notes fit this scale regardless of where you are on the keyboard and you won’t have to guess! Awesome! This will not only teach you what this scale sounds like in different places, but it will reinforce the specific notes that belong in this scale. You can start doing this by playing the scale in seconds, but starting in a different place: C Diminished Dominant Scale – Seconds Practicing this scale in different, melodic ways is a really important component to developing your own musical vocabulary that you can rely on while improvising a great jazz piano solo on Dominant 7 Chords. Next, let’s learn some melodic patterns you can use with this scale. Once you’ve got triplets and 8th notes down, try alternating between 8th notes and triplets as you go up and down the scale, something like this: C Diminished Dominant Scale – 8ths and Triplets Once you’re comfortable with that, move on to triplets: C Diminished Dominant Scale in triplets Let’s start by playing the scale in 8th notes to get used to the feel and sound: C Diminished Dominant Scale in 8th Notes The rhythmic foundation for all great jazz solos are 8th notes and triplets (and combinations of both!). Next, let’s learn some rhythmic and melodic patterns to get this scale down. ![]() Feel free to follow along as you work through this Quick Tip!įor more on extensions and alterations, check out our 2-5-1 Chord Extension & Alteration Exercises course. Pay attention to the fingering as well you only need 1, 2, and 3 to play the whole thing.Īll of the content in this Quick Tip is available in our Smart Sheet for the Dominant Diminished Scale. This scale is called the Diminished Dominant Scale because the 3rd, 5th, and 7th are all lowered by a half step (flat 3rd and flat 5th make it diminished, and flat 7 makes it dominant). Whoa! Lots of really cool notes in this scale! We have the b9 (Db), #9 (Eb), and #11 (F#) in there. Check it out: C Diminished Dominant Scale The Diminished Dominant Scale is a super cool scale that utilizes almost every possible alteration for Dominant 7 Chords. Next, let’s learn the Diminished Dominant Scale. If you want to dig into more detail about some of the topics mentioned so far, check out our Piano Chord Extensions and Dominant 7 Chord Exercises courses. This will propel your solo along and help you groove and swing harder! Play the root on beat 1, then the voicing on the and of 2 to add some syncopation and energy. The half-step interval between A and Bb still sounds good, but adds a bit more dissonance and jazzy character to our voicing. When a chord has the 7th included, non-chord tones are referred to by their scale degree plus 7. Here, we’ve moved the 5th (G) to the 13th (A). Let’s take a look at a better way to play this C7 chord using a Rootless Voicing: C7 Rootless Voicing This dissonant quality is also the reason why these types of chords still sound good with other dissonant ideas played on top of them! The interval is a tritone! By itself, a tritone sounds dissonant but combined with the rest of the chord tones it gives the Dominant 7 Chord its unique sonic character. Pay attention to the interval between the 3rd (E) and 7th (Bb): this is the key to understanding why this scale works so well on Dominant 7 Chords. Here’s C7 in Root Position: C7 in Root Position However the techniques you’ll learn today will work for all 12 Dominant 7 Chords. For this Quick Tip, we are only going to focus on C7. Improvise Dominant 7 Chords – Left Handīefore we dig in to the coolest scale to use on Dominant 7 Chords, let’s take a look at what to do with the left hand. This scale has such a cool sound because it utilizes lots of dissonance! You will be able to sound like Chick Corea, McCoy Tyner, Charlie Parker, and many more jazz legends! Let’s get started. ![]() Do you want to learn how to improvise a jazz piano solo on Dominant 7 Chords? With these 4 steps, you will learn how to play killer solos utilizing one scale: ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |