6 Most Important Dominant Scales And Hidden Tricks With Them

6 Most Important Dominant Scales And Hidden Tricks With Them

Using different Dominant scales on dom7th Chords is one way we can make variation and add new sounds to our solos. In this video I will go over the 6 basic scale choices you need to know for improvising over jazz standards and originals

For each of the scales I will go over what they are, the extensions or colors they add to the chord and also an example of a really useful but less common idea that you can use when soloing over the chord.

These ideas or arpeggios are things that I have dug out from improvising and studying the music you can make with these scales and they really give a clear picture of the sound plus they make for interesting melodies.

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0:00 Intro
0:58 The Blues Scale Question?
1:15 #1 Mixolydian
1:48 Extensions
2:16 Constructing a great non-diatonic arpeggio
2:53 The Arepggio
3:03 Mixolydian chord voicings
3:20 Example of Lick / Analysis
3:55 #2 Dominant from Harmonic minor
4:29 Extensions
4:54 Constructing an arpeggio
5:21 b9b13 Chord Voicings
5:33 The Arpeggio
5:43 Mixolydian b9b13 Example / Analysis
6.34 #3 The Altered Scale
7:19 Extensions and Alterations in the scale
7:45 Altered Chord Voicings
8:06 The secret Altered Arpeggio
8:36 Altered Scale Example / Analysis
9:10 #4 Lydian Dominants
9:40 Extenstions and the 13th Arpeggio
9:58 Lydian Dom7th chord voicings
10:13 The Dom7th(#5) Arpeggio
10:45 Example Lydian Dominant
11:15 #5 Diminished Scale
11:46 Extensions and Alterations
12:21 Chord Voicings
12:34 The Overlooked Dom7th arpeggio
12:59 Diminished Dom7th Example / Analysis
13:26 #6 Whole-tone scale
14:06 The Extensions in the Whole-Tone scale
14:32 Chord Voicings
15:19 Whole-Tone Example / Analysis
15:55 Did I leave out a scale?
16:34 Like the video? Check out my Patreon Page!

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49 thoughts on “6 Most Important Dominant Scales And Hidden Tricks With Them

  1. Hi Jens!

    I can understand where the arpeggio is derived from, for example to form the sound of Gb9b13 (7th degree of G altered). But, where does Fmaj7 (b5) come from to generate the sound G Mixolidian sound?

  2. Hello Master! Could you please leave the You Tube translation option active? I'm sure that the knowledge will be better used! Many people, who are not very fluent in the English language, would appreciate it! Thank you for your kindness!

  3. Des sonorités nouvelles pour moi, à la fois hypnotiques mais également difficile à entendre et donc intégrer. Sans doute d’autres vidéos traitent elles du même sujet, et personnellement j’entends plus facilement sur un G7, un Am ou encore un Fm75- ou la substitution tritonique, Db7 5- pour résoudre sur C. J’avoue que j’ai du mal à m’y retrouver avec la notation de toutes les extensions. En tous les cas bravo pour cette ( ces) video(s) extrêmement enrichissantes.

  4. Great Jens….You are my favorite guitar teacher….Very intelegent strategy in jazz sense…Thanks for help us…

  5. i'm only jazz-curious , but the way i understand it is you can pretend like you're in minor, when the chords suggest you should be in major. (sometimes using an b2 like you're not in a straight minor (aeolian) but frygian). it may be an oversimplification which loses some details, but imo you gain the LOGIC of the melody. you keep the meaning (function) of the individual tones thus creating a coherent meaningful melody.

    The dominant chord itself is a mix between the 2(major-minor), because the 3suggests major while b7 suggest minor, thus this trick of blues that you can get away with pretending you're in minor, because the chord somewhat supports that.

  6. Hi Jens, do you have a video where you talk about the two modes of the diminished symmetric scale? I understand that the possibilities are ST-T, T-ST but I do not quite understand how and in what context they are applied over and over and how to make them differentiate between them. Thank you!

  7. Jens, excelent lesson! i'm going to move to The Hague in march, i hope i can take a personal lesson with you!

  8. Its very hard to explain, or express, but, feelings hard to equate to the math involved. Music wise, My dad would have been on his way to the big band era, than ww2 occured. we get to play because of sacrifice. glad to see you here!

  9. My Apologies, not good at explaining tears or emotions, just know that I respect stuff you have learned over a life time.

  10. Thats ok, What I meant was, If I am capable, there needs to be an end. whats is important , resolution in terms of letting your listener know you care about them. Im not very explainfull, Sorry Jens, Sometimes, its just a point to ask yourself, have you fufilled stuff, If, you can make someone cry a t the end,

  11. Do me a very small favor , could you talk about what folks think as soft, and hardness, to express resolution, at the end of what the heart expresses, so your fans understand.

  12. Number 2 is similar to a Tritone substitute with the difference being the #5 instead of b5, if I'm not mistaken. Although I haven't been able to use the Tritone sub successfully yet , so maybe this is what I should use. Thanks for the info.

  13. |n Prhygian dominant situations a 11 will work with b9(also when the 3 7 are in accomping, )not so much used…
    so I mean not E7 going to Cmaj Phrygian dominant but Phrygian scale G Ab Bb C D Eb F upon G7(+5), if you agree please let me know…

  14. Pentatonic on the bIII will work on Ldian dominat I guess, but on the first stepp it will work because of the +5 for instance on blue bossa C blues scale on the G7+5 also the F# works as a bebop tone!and we have the #9 as a bonus!

  15. Great video Jens! Thanks! Question: the arpeggio Eb7(#5), why isn't a diatonic arpeggio in G altered?

  16. Jens, I am working hard on absorbing this lesson, like I do on many of your video lessons. So much information that it takes me weeks, nay months! sometimes to begin to apply… but I follow the logic of your presentations well…but Sometimes the lack of emphasis (in diction?) on certain important points leads me to skip them, only to go back later and realize how important they are! Pacing leaves me behind sometimes. Still the best stuff on the web.

    I was curious if you had regard for Emily Remler's rather simple take on the altered scale (she calls it "jazz minor" 1/2 step above the V), its use with resolving V7, and using "jazz minor" scale on the 5th of the dominant for non-resolving V7. Those were seminal ideas for me, now I am gradually expanding my vocabulary in solo lines and comping thru your systematic approach. Very interested to see your forthcoming book.

    One other problem I am having is I dont want to write out examples…too tedious. I try to find a logic in your examples that I can lift and apply. Sometimes I can. But often I am left guessing about your choice of scale fragments or arpeggios within the examples. So some "easy" generalities toward successful construction that can be applied on the fly would be helpful to me. finally, I wish it was a little easier to grasp your concept of arpeggios versus chord voicings (solo line versus comping?)
    Thanks very much.

  17. Hey Dude! Great vid, as always 🙂 I really enjoy watching your videos and i thought it's time to drop a comment. You always focus on music-making and not on self-presentation like so many other youtubers. Keep it up mate!
    …might be a bit off-topic, but what do you think of Hal Galper's Forward Motion? Greetings from a german jazz pianist 🙂

  18. jens ,μου προτειναν να παω στην Ολλανδια να σπουδασω για να ανοιξω περισσοτερο το μυαλο μου αλλα δεν υπαρχει μια.Ευτυχως που υπαρχεις εσυ(χωρις να θελω να σε αγχωσω)

  19. Did you mention C ascending melodic minor over G9+5? Thank you very much for your tutorials and your enthusiasm!

  20. Hey Jens! Big fan of your work. Lately I've been trying to practice ii-V-I progressions staying in the same (or adjacent) position by exploring different chord voicings for each chord. At first trying to play them without extensions or tensions, and then adding them aiming at interesting voice leading ideas.
    Do you have any video relating to some similar approach? I would love to see it.

  21. Great lesson, definitely a way for me to explore new territory. My standard approach to dominant chords is to use either or both the pentatonic Major and Minor scales as a framework and then add #5 or b3 (the blue notes). I feel the blues scales have a strong melodic minor feel to them. Also I see dominant chords as the joker in diatonic harmony because it has both a major and a minor face to it.

  22. great overview…I was trying to understand why the lydian sound does not resolve (means G7#11 -> Cmaj7 does not work well?) though there is 3, 7 that could resolve to root and 3 , and ..the #11 but could resolve to the tonic..??

  23. Nice job, Jens. One minor typo – at 11:49 on the Dim scale graphic you have an Ab but label it as a 9 instead of b9. Lots of good ideas here – esp the characteristic arps. I sometimes use one of these approaches but move up/down in m3's, so using dim structure with other arps/chords.

  24. Hi. Great lesson again.
    Im actually practicing melodic minor a lot, and seeing how it fits over chords. Love it so far.
    I have lots of questions about it though, but this time I want to ask you a simple one.

    I remember you said once that playing the arpeggio of the chord placed a diatonic 3rd above the root of the actual sounding chord was the most natural and basic arpeggio substitution.
    Is that also true in melodic minor?

    I mean…
    If you play G7 as it was the 4th mode of the melodic minor scale, then the Bm7b5 arpeggio (6th degree of melodic minor) is the target.
    And if you play G7 as it was the 7th mode of the melodic minor scale, then the Bbm7 arpeggio (2nd degree of melodic minor) is the target.
    Is this a correct approach?

    Thank you very much.

  25. Fantastic lesson Jens, thank you! I basically try to use these scales, although I am not able to use these tricky structures (arpeggios) within scales, most of the time I try to play some sort of pattern (especially for whole tone scale actually). Fretboard overview still represents big hold up for me unfortunately… Take care!

  26. Wow! Brilliantly done
    I feel silly for not seeing the flat five a whole step below(fM7b5 )and step and a half above( Bb7b5)

    Duhhh no wonder why the blues scale works so greatly

    I mean its in the G dominate

    So nice to hear those colors!!

  27. Once again, Jens produces a very useful lesson.
    Know of any scale that covers two dominant chords a whole step apart, ("Killer Joe") other than the whole tone or the 5th mode of melodic minor??

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