Weekend Jazz Jam: Monday Edit

Welcome guitar fans,

todays episode of my guitar blog is about improvising over jazz chords. The weekend jazz jam is about finding out which scale or arpeggio fits over the chords progression below. As always, you´re welcome to send an email with your questions & i´ll try to help you out. On monday, you will find the right scales and arpeggios right here in this episode. But today you have to work it out by yourself.

Have a lot of fun.

Dm7 / G7#5 / Cmaj7 / A7#5

As I told you on friday, here are the Arpeggios for your solo over the chord progression:

Dm7: Use D d dorian (C Major) or the A minor pentatonic scale over this chord. Try to use some chromatic approaches. You can use a d minor 7 arpeggio as well.

G7#5: G-phrygian dom. (C harmonic minor) or G altered scale (a flat melodic minor). Try to Play a g dominant 7 arpeggio by adding a E flat.

Cmaj7: You can Play C-ionian (C Major) or C lydian (F Major). You can also Play a Cmaj7-Arpeggio.

A7#5: Like G7#5 but 2 semitones higher.

Nico Pitzer

http://www.learn2rock.de   info@learn2rock.de

Dominant 7 Flat 9 Chords – Altered Dominant Chords –

Dear Guitarnerds,

todays episode of my jazz blog is about the altered dominant chords Dominant 7 Flat 9 (b9). A lot of you guys asked me for help using those altered chords in jazz comping. Today I´d like to talk about the dom7(b9) as an example for altered dominant chords in jazz. I hope this exercise will help you to get an idea of the voicings, the sound and -in exercise 1 written down- how to use them in jazz chord progressions.

Feel free to contact me for further questions or either personl & skype lessons to learn more about jazz chords and how to use them.

Thank you and have a lot of fun.

Nico Pitzer

http://www.learn2rock.deinfo@learn2rock.de – 00 49 2309 – 57 26 360

 

Download the Tabs and get started: Dominant 7 Flat 9 Chords

 

Chord Formula: 1, 3, 5, b7, b9 – Using a C7(b9) 1=C, 3=E, 5=G, b7=F, b9=Db

As always, I wrote down some chord voicings. I named them as „primary“ and „secondary“ voicings. Primary vocings are used in the most playing situations while secondary voicings are the special ones.

You´ll also find outside (using the 6th to start with root), inside (using the inner 4 strings with 5th string as the root) and chord/melody voicings (with the 4th-1st string and the 4th string as the root).

The chord function of dominant 7 flat 9 is to substitute the dominant type chords. It´s a very good way to create a lot of tension. Dom7(b9) inversions are related to the diminished chords (can be moved in minor thirds). For more informations please contact me.

In Exercise 1 you can try out some fancy chord progressions using the dom7(b9). I hope this will help you out. Have fun & remeber: Play slow and clear, use a metronom and repeat each sequence as much as you need to get it in your fingers.