Learning Goal: To recognize the unique sound/feeling of the five most commonly-used seventh chords: major 7, minor 7, diminished 7, dominant 7, and half-diminished 7.
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Category: Chords
Ear Training: Triad Recognition
Learning Goal: To recognize the unique sound/feeling of each of the four triad types: major, minor, diminished, augmented…
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Ear Training: Melodic Interval Recognition
Learning Goal: To recognize the unique sound/feeling of the following intervals: minor 2nd, major 2nd, minor 3rd, major 3rd, perfect 4th, tritone, perfect 5th, minor 6th, major 6th, minor 7th, major 7, octave…
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Jazz Chord Voicings: Dominant 7 "Killer Joe"
Enjoy this super-hip voicing for a Dominant 7 Chord made famous in Benny Golson’s “Killer Joe”…
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Jazz Chord Voicings: Dominant 7, add #9
For a dissonant edgy sound, drop the 5 and play the two definitive tones (3, b7) plus “the #9″…
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Jazz Chord Voicings: Dominant 7, add 13
For an open “fourthy” sound, forget “the 5” and play the two definitive tones (3, b7) plus “the 13″(6)… Homework Use your ears and knowledge of scales and chord structure to “transpose” this voicing to all spellings in three musically-useful patterns: Chromatically Ascending: C > Db > D > Eb > E > F > Gb
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Jazz Chord Voicings: Dominant 7 "Definitive Tones over Perfect Fifth"
For a full, but simple and open sound, trying voicing the Dominant Seventh Chord as a perfect 5th in the left hand and a Tritone of the two definitive tones 3 and b7 in the right… suitable for very sparse and light comping… Homework Use your ears and knowledge of scales and chord structure to “transpose” this
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Jazz School: Chord Voicings: Dominant 7, add 9
One way to get a jazzier sound is to add “color tones” to the basic Dominant Seventh Chord. A commonly-used color tone is the “9” (or “2” if you like). For physical ease and musicality, it is customary to drop the most expendable note “1” from the right hand and replace it with the 9 as follows…
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Jazz School: Chord Voicings: Dominant 7 Root Plus Definitive Tones
The Definitive Tones for a Dominant Seventh Chord are “the 3” and “the b7”, so called because they define the chord type. Playing the root plus these two tones as an arpeggio in the left hand is a great accompaniment pattern for ballads…
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