Playing Over Dominant Chords

Q: Like your style.  I need some review of scales to play with regards to how the Dominant Seventh Chord is resolving...functioning as a V chord or just a secondary Dominant (which I would play Mixo or Lydian b7).  If it is resolving to minor I'd play harmonic minor of the letter name of the chord it's going too.

A: here is the basic overview of the dominant scales. Let's take it by how the dominant chord is functioning. When I say functioning, I mean resolving to a I or i chord as in V-I or V-i or G7 - C or G7 - C-7. Non-Functioning means resolving somewhere else or possibly not resolving, as in G7 - F#maj7 or just a static G7 jam. Keep in mind, secondary dominants are for the most part functioning.

Some Points on the Mixolydian Mode

Q: Hi Chris, I just checked out your revision of the mixolydian lesson on your site and the new video. I really liked the sounds you get with mixolydian especially in the Blues you played. I just have a few questions.

Q1. Why is it that you can play a G minor pentatonic (or major pentatonic) over the whole 12 bar progression, but have to switch mixolydian modes for each of the three chords?

A: Well, both the minor and major pentatonic scales will (for the most part) work over the whole progression because of their simplicity. I suppose that is why using one or both of them is a popular approach rather than using a separate mixolydian scale over each chord. Even though you can technically use both a minor and major pentatonic scale over a Blues, not all the notes work well over each of the chords. For example, take a look at the G minor pentatonic scale: G-Bb-C-D-F. And remembering that chord tones sound the best over each of the chords you play over, look at the scale compared to each chord in a G Blues:

Here is the G minor pentatonic scale again: G-Bb-C-D-F

G7 (G-B-D-F): The scale has three chord tones, the root (G), 5th (D) and b7th (F). C is sort of lame as it is a 4th and the chord isn't a 7sus4 chord and the Bb needs to be bent up the the major 3rd to sound right against the G7 chord. But overall, your chances of hitting a good note is pretty high.

C7 (C-E-G-Bb): The scale has three chord tones, the root (C), the 5th (G) and the b7th (Bb). Again pretty good hit/miss ratio against the IV chord.

D7 (D-F#-A-C): Two chord tones here. We have the root (D) and b7th (C). So we have to be a little more cautious using the scale over this chord.

But all in all, you have will have pretty good luck using the minor pentatonic scale over the Blues progression. You just need some sense and decent ears.

Now let's take a look at the G major pentatonic scale used over a G Blues progression. Here is the G major pentatonic scale: G-A-B-D-E

G7 (G-B-D-F): Three chord tones available, the root (G), 3rd (B) and 5th (D).

C7 (C-E-G-Bb): The scale has two chord tones, the 5th (G) and the 3rd (E). The biggest problem with this scale over the IV chord is that is has some downright lousy notes. The worst being the B note which is a major 7 to the C7 chord. If you play this note and hold it, you could probably make someone in the audience throw up. If you dare to play it, try bending it up to the root for good results.

D7 (D-F#-A-C): Two chord tones here as well. We get the root (D) and the 5th (A). The remaining three notes in the scale are not chord tones, but they aren't blatantly ugly (like the B note over the C7 chord) either.

Now on to the mixolydian scale. You can get pretty good results from using the G mixolydian scale over the whole thing. I mean, Blues harp players pretty much do exactly that to some extent. For example, a Blues harp player would use a C major harmonica over a G Blues and as you know from the lesson, the C major scale over a G7 chord is the G mixolydian mode.

Let's look at the G mixolydian scale over all three chords. Here is the G mixolydian scale: G-A-B-C-D-E-F.

G7 (G-B-D-F): We get every chord tone!! Bingo! If I have any advice for you here, beware of the 4th. It doesn't sound that hot over a G7 chord unless it is a 7sus4 chord, in that case it would sound pretty good but the 3rd would then have some problems.

C7 (C-E-G-Bb): Three chord tones, the root (C), the 3rd (E) and the 5th (G). Be very careful because once again, there is a B note in the scale which is the major 7th and will gross you out over a C7 chord if you hold it for any length of time.

D7 (D-F#-A-C): Three chord tones here, the root (D), the 5th (A) and the b7th (C). When the G mixolydian scale gets played over this chord, there is a minor 3rd (F) that you might want to bend up to the 3rd of the chord (F#).

All in all, the G mixolydian scale over the entire Blues progression isn't that bad of a choice but it leaves a lot to be desired, simple because of the difficulty in making the changes using it. But remember, using the corresponding mixolydian scale over each chord offers you the opportunity to get all the chord tones on all three dominant chords. 

I personally prefer to use the mixolydian mode over the IV chord, for example, C mixolydian over the C7 chord in a G Blues, while sticking to a combination of the minor and major pentatonic over the I and V chords (although I'm somewhat inclined to use the mixolydian scale over the I chord from time to time). There is a good reason for using mixolydian over the IV chord, you can see that the C mixolydian scale and G minor pentatonic scale are pretty close to the same, or at least we could say that there is a G minor pentatonic scale inside of the C mixolydian scale. See:

G minor pentatonic: G-Bb-C-D-F

C mixolydian: C-D-E-F-G-A-Bb

Therefore playing the G minor pentatonic scale over the G7 chord and simply expanding it to the C mixolydian scale for the C7 chord is a fairly simple thing to do (just add a E and A note). Some players like to play the C mixolydian mode over both the I and IV chords but I don't think that is a great choice (if you want to know why, there is another post here).

Q2: I can follow what you are playing somewhat on the video. But in certain places I'm not quite sure (especially over the C7 chord at around 14 minutes). Can you tell me where you start using the mixolydian scale or if there is something else going on?

A: Sure. I'll take a look and notate the times (keep in mind, when I say G minor pentatonic, I might be playing a major 3rd here and there):

10:48 - 11:10 - G minor pentatonic scale

11:11 - 11:19 - C mixolydian

11:20 - 11:22 - G minor pentatonic

11:23 - 11:28 - G mixolydian

11:29 - 11:46 - G minor pentatonic (with emphasis on an added A note for the D7 chord)

11:47 - 11:50 - G mixolydian

11:51 - 11:55 - C mixolydian

11:56 - 12:03 - G mixolydian

12:04 - 12:11 - C mixolydian

12:12 - 12:37 - G minor pentatonic

12:38 - 12:42 - G mixolydian

12:43 - 12:47 - G minor pentatonic 

12:48 - 12:55 - G mixolydian

12:56 - 13:06 - C mixolydian - 

13:07 - 13:16 - G minor pentatonic

13:17 - 13:21 - C Mixolydian

13:22 - 13:30 - G minor pentatonic

13:31 - 13:35 - G mixolydian

13:36 - 13:38 - C mixoldydian

13:39 - 13:47 - G mixolydian (the arpeggio thing you hear is basically the diatonic arpeggios ascending from Cmaj7 up to Amin7)

13:48 - 13:55 - C mixolydian 

13:56 - 14:05 - G minor pentatonic 

14:06 - 14:09 D mixolydian (something I usually don't do)

14:10 - 14:12 - C lydian dominant (Woops.. sorry, I cheated) 

14:13 - end - G minor pentatonic

Playing Over Dominant Chords

Q: Hi Chris! I really dig your lydian dominant video on youtube and want to get that type of sound. I sort of understand how you mix different scales to get that kind of fusion vibe, what choices do you have for a dominant chord?

A: Thanks! Musicians really like soloing over dominant chords simply because you have so many choices. Actually, you can use all 12 notes, even the major 7th if you place it on an up-beat. As far as scales there are a bunch you can use and each has its own mood. Let's say you have to play over a static dominant 7 chord (the bigger the chord, the less choices you have so we'll go with a simple dominant 7 chord). Let's look at our possibilities, from inside to outside (click on the links for more on these scales):

1. Major pentatonic (1-2-3-5-6): this is a really inside sound and popular for all styles of music. 

2. Mixolydian (1-2-3-4-5-6-b7): no bad notes here really, you might want to be a little weary of the 4th as it sort of has issues with the 3rd in the chord (if you were playing over a 7sus4 chord, it would be perfect). 

3. Lydian Dominant (1-2-3-#4-5-6-b7): some people could actually argue that this scale is more inside that even the mixolydian scale. The reason is obviously because the issue regarding the 4th clashing with the 3rd in the chord has been dealt with. Regardless, the melodic minor scale, simply because of its intervalic structure, has a quirky sound, so I'll list it after the mixolydian scale on our list.

4. minor pentatonic or blues scale (1-b3-4-(b5)-5-b7): It might seem strange to put this scale at 4 on our list because out of all the scales, this one is probably the most accepted by our ears for a dominant chord. I think that is simply because we have heard and used it so much. But in all reality, it is a pretty abrasive sound if you think about it. Its got a b3 that you really have to be careful of because of the major 3 in the chord. Experienced players know that this note should be bend up. We still have the 4th to be weary of as well. 

5. H/W diminished (1-b2-#2-3-#4-5-6-b7): Against a 13b9 or 13#9 chord, this wouldn't be such an outside choice but against a plain old dominant chord, it has more tension, simply because of the flat and sharp 9ths (2nds). The scale is symmetrical so it has a very angular sound. You can create dramatic effects with this scale mixed with, let's say, the major and minor pentatonic scales. In a lot of ways, it looks like the blues scale right?

6. Altered (1-b2-#2-3-b5-#5-b7): Again, against an altered dominant chord, this scale is not so outside, but against an unaltered dominant chord, it will really rub. But by strategically placing it between two inside choices, you can create some great tension.

Modes and Slash Chords

How are you? I was just going over some of your lessons online and found them very interesting. I do have a question:

Q: I am currently using the C Mixolydian mode to jam/solo over the root of the mode (C). I am very confused on what chords to use. I saw a video of Frank Gambale explaining this but I can't understand this. He mentions to use the 4th and 5th chord of the major scale. To me, the major scale of C mixolydian is F major...correct??? do I play a B and C? If I am wrong, what am I doing wrong??? I would appreciate any help

A: Glad you like the lessons. You have to understand the diatonic system to use the modes properly. As you described, you always use the mode over the diatonic chord of the same name right? So C mixolydian works over a C7 chord. Here is the diatonic system for C mixolydian, the key is F major:

I - F (or Fmaj7) - Ionian
ii - Gmin (or Gmin7) - Dorian
iii - Amin (or Amin7) - Phrygian
IV - Bb (or Bbmaj7) - Lydian
V - C (or C7) - Mixolydian
vi - Dmin (or Dmin7) - Aolian
viio - Edim (or Emin7b5) - Locrian

Now probably what Frank is saying, is that the IV and V chords of this key, played over the root of the mode are good slash chords to play for a modal vamp. The IV and V chord in the key of F are Bb and C right? So play these over the C root, as in: Bb/C - C/C (C/C is really just a C triad). So this is a good progression to jam on. This will work for any of the modes:

Bb lydian for example: Bb and C over the lydian root: Bb/Bb - C/Bb (really Bb - C/Bb). This is good for Bb lydian.

D aolian: Bb/D - C/D
A phrygian: Bb/A - C/A

All these examples are simply the IV and V chord played over the modal root. Of course this is just a simple way to practice and you can simply make up progressions from the modal chord. Just don't mix up the chords too much or you will lose the modal sound. Two chords are usually best. C mixolydian: C7 - Dmin7 or C7 - Bbmaj7 for example.

Links:

• modes, starting with dorian
• mixolydian

Mixolydian vs. Lydian Dominant

Q: I have to play a solo over a C9 vamp, and I realize I have several scale choices. let me see if my theory is correct here: The mixolydian scale is totally diatonic, but the #4 in the lydian dominant scale works because the ear also accepts the blues scale (b5), right? So in a way, the lydian dominant works like a pivot between inside (diatonic mixolydian) and out (blues with b3 as well), which also lets the Dorian work sparingly too. Does that sound about right? (or am I trying to get into heaven here?)

A: You pretty much have it but not completely: Some people would argue that lydian dominant is actually more inside than mixolydian because the natural 4th in mixolydian would technically clash with the major 3rd in the C9 chord. There is some truth in this I think. Technically lydian dominant has no "avoid note" so to speak, the #4 being far enough away from the 3rd in the chord. Some players would tell you, me too for that matter, that mixolydian is better used for a 7sus4 chord. It is all a matter of taste I suppose. C Dorian would only work over a C9 chord because it sort of looks like a combination of the C major pentatonic and C minor pentatonic scale. But it leaves out the most important note, the major 3rd. And it seems clumsy (too big) for blues. So I think that a C dorian scale over a C dominant chord isn't really a great choice. Also, I wouldn't put the cart before the horse, meaning that I wouldn't think that (as you said) a scale is diatonic to a chord, it is really the other way around: chords are diatonic to scales. So C9 is diatonic to both C mixolydian and C lydian dominant. But you are right to think that we like the sound of the b5 because it reminds us of the blues scale (again, a matter of opinion).

Besides the major and minor pentatonic scales, mixolydian and lydian dominant, you can also create some tension by using the half/whole diminished scale.

I've posted on dorian over a blues before. Here>> Other links:

• lydian dominant
• mixolydian
• half/whole diminished
  

Dorian in a Blues

Q: Any tips on using the dorian mode over a 12 bar blues?

A: The dorian mode looks a lot like the major pentatonic and minor pentatonic scale superimposed over one another. In this respect, it seems like a logical choice to use over the blues progression but there are problems with this approach. I think it is a little too bulky for this application myself and leaves out the most important note, the major 3rd over the "I" chord. I think better use for the dorian mode would be over the "IV" chord. Let me explain: let's say we are playing an A Blues, I might use:

1) A minor pentatonic scale over the A7 chord (this might just as well be the major pentatonic or combintation of the two as well).

2) The A dorian mode over the D7 chord. The A minor pentatonic scale sits inside the A dorian scale nicely and allows a lot of interplay.

The A dorian mode over the D7 chord is really just a D mixolydian mode, but relating it to the Blues key center of A makes it seem a lot simpler to me. Especially as I am way more familiar with the dorian mode than the mixolydian mode. Matter of fact you can think dorian up a 5th for any dominant chord: A7=E dorian, D7=A dorian and E7=B dorian. It is really a matter of perspective though. I am not really a big fan of using modes too much over blues, it seems to complicate something that was meant to be simple. I do however use the dorian (based on the "I" chord key) over the "IV" chord quite a lot, it creates a few moments of interest and creates a jazzy sound. Now, a jazz blues is a different thing all together, using modes is fine. I would also be using the lydian dominant and altered modes in this situation.