How To Play Over Dominant 7 Chords - Improvisation Masterclass #3
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- Опубликовано: 27 авг 2024
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In this video we are continuing with our series on playing over single chords. This time we will take a look at the dominant 7 chord.
In order to be dominant a musical element needs to have a major third and a minor seventh. Typically, dominant 7 chords are used to add tension and that means that we can bring more outside notes to augment that tension. For this to work you have to play strategically by using strong rhythm phrasing.
The scale that works the most because it matches or the musical elements is the Mixolydian mode. Another option is the Lydian Dominant scale, in order to make the Lydian mode dominant you only have to change the major seventh for a minor seventh.
Finally a little device I love to use is playing random shapes across the fretboard to create tension over the dominant chord.
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“If you ask me what I played, I have no idea, but I played it strategically”, now I know this is going to be fun.
I love outside playing a lot. It really catches you off guard!
You are a great teacher !! Perfect lesson. Thank you.
Lydian dominant is such a cool sounding scale
Freedom in music ! I love the idea. Thank you David
Really enjoyed this
Awesome lesson
Thanks. I was always confused about what I could play over a dominant 7.
Not anymore.
That's super helpful. I was sketching out a track improvised a bunch of chromatic notes over a dominant chord. When the time came record it for real I thought the sketch sounded really superb but theoretically it did not make sense coz it had all the wrong notes. Your example on "adding more tension" really resolved it for me -- I'm gonna keep all the "wrong" notes.
thank you im old and play well but i just love what you do its very cool outside i love your tone nice clean crunch for that disenence tri tone rhythmic rip sound keep going
cool lesson David, thanks!
I really enjoyed the outside playing! best wishes.
you just gave me crazy ideas for my wedding gig tomorrow! C dominant over a Cumbia lol. Most of those songs are Dominant are vamped. THANK YOU !! :D :D
The phrase around the 8:00 mark sounds like Miles Davis.
Didn't think it was "out there" at all. I likes it!
Great lesson david love the 3xplanation on which note intervals to utilize and why
Excellent lesson!!!
Also a locrian arpegio fits like a glove. A dominant you can play a d# locrian arpegio. (i think 🤔)
Be careful locrian arpeggio implies 1 b2 b5. That's the locrian chord. If you mean 1 b3 b5 that's diminished.
F# min7 b5 is Am 6
Hey David, awesome lesson. I'm actually starting to get it. One suggestion, the backing track is a little louder than your guitar. It makes it difficult, at least for me, to hear the nuances of each interval. Best.
Awesome lesson... while writing this comment it all kind of clicked. And it relates back to theory. I Ionian. ii Dorian. iii Phrygian. IV Lydian. V Mixolydian. VI Aeolian vii0 Locrian. Great video!!!! Only thing I didn't understand was why the Lydian could use a d# as its not found in the C major scale?
thank you , you are a great guitarist
If you could have the solo at the end tabbed, I''m sure it would mean the world to those wanting to learn this outside stuff and make it sound good. Developing your personal style just from the principles behind it is all good and well but for many it may sound very basic and stiff. Jump-starting by learning an accomplished solo may work a lot better for many players, including me, and tab is a great aid, even if you have the actual fretboard there in the video.
great teaching man!
Cheers it!
Hi David. I enjoyed this lesson, as well as most of the lessons you have posted. Your method of explaining modes and modal playing has helped to make the whole theory of modes and playing them much easier to understand. With respect to this lesson, you define a dominant 7th chord as a chord having a root, major 3rd, perfect 5th and minor 7th, which I understand and agree with. However, in my music theory lessons from high school (which were long before you were born), the dominant 7th chord was defined as the chord with those intervals built on the dominant of the key, which is the 5th degree of the key. So the 7th chord (A 7th) in the lesson would be the dominant 7th chord in the key of D. Similarly, G7 is the dominant 7th chord in key of C major. Am I missing something, because it seems most theory discussions now call any 7th chord with the above intervals a dominant 7th chord. Maybe just being a little picky on my part...Anyway, love your stuff and thanks for helping further my playing. I have invested in a number of your courses and find it all very interesting.
To answer that, well. That's all true when viewing a dom 7 from the major. If you look at dom7 as the root and your in mixolydian mode than no. For get about the 1 being the key center. Your in mixolydian. Hope that makes sense. Also Lydian dominant is mix #4. Just another way of looking at it as an Extension of mixolydian....
There's a lot of other dominant scales.... mix b6, altered, diminished, phrygian dominant, mix b2. Mix #4 aka Lydian dom, phrygian b4, I can keep going.....
I was hoping this video was about more of the dominant scales...
11:50 - you say that you could play either a perfect or an augmented fourth, since the backing track does not use a fourth so neither degree will clash with it. This implies that if the track had a perfect fourth, you'd want to especially avoid the augmented fourth, because the dissonance with that minor 2nd would rub too rudely - but the track does have a perfect fifth, and the distance between that and the diminished fifth (aka. augmented fourth) is the same - minor 2nd. Am I misunderstanding something, how are these two cases different?
Great work as usual, love this outside tension, it does stuff to your head, in a good way. I was wondering if "Al Di meola", means anything to you ? If not, why not... peace
The concept is pretty cool. Would a D Lydian dominant be diatonic to that track. Just trying to get a better understanding of notes. P.S. you're helping me a lot
Jerry Wilson to my knowledge it wouldn’t be as you’re basically playing A melodic minor then.. which may clash to your ear.. however with the tension over the A7 chord it may work it certain places if your phrasing is strong :)
fuck off jerry
Ok think mixolydian then mixolydian #4 (Lydian dominant.) Just raise the 4th in mixolydian and you have Lydian dominant.
for the Lydian thing can I just play a B Maj scale?
When improvising how to keep rhytym without backing tracks ? Because I realised that too , rhytym is very very important.
I use a beat buddy mini pedal. Let’s me practice concepts without worry of a moving track.
Sparingly
Thank you!!
lol
16 june.father's day don't forget ind vs pak
Can't I just play a D Maj scales over the top of all of this adding some diminished stuff?
Sporadically?
Here's a cheat. There is only one dom chord in a key. it is the 5 chord. what is A the 5 chord of? D major. so i play D major/Bmin all over the place and center on the sweet notes of C# and G.
So what you are saying is that dominant 7th chords are amazing. Cool. :)
Sporatic
Sorry when playing in A7
Good info but you really need to get rid of all that excessive reverb/delay. It’s not only distracting, but it doesn’t sound very good. I don’t care if you like it, it doesn’t serve the students.
Thanks for the input!
understanding of modes not notes
We use RUclips as a reference but these teachers spend more time talking