For an open sound that works great for Jazz Blues, drop “the 5” and play the two definitive tones (3, b7) plus “the 9″(2)…
Category Archive: Music Theory & Ear Training
For a full, but simple and open sound, voice the Dominant Seventh Chord as a perfect 5th in the left hand and a Tritone of the two definitive tones (3, b7) in the right…
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)…
Playing the root plus the two definitive tones (3,b7) as an arpeggio in the left hand provides a nice accompaniment pattern for many styles of jazz…
A commonly-used voicing for a Dominant Seventh Chord is to play the root in your left hand and the triad formed by the 3, 5, and b7 in your right…
A sparse, light, open texture is achieved by simply playing the root and seventh of the chord in your left hand…
A logical and musical next step is to play the most basic voicing for a C Dominant Seventh chord in our left hand in block form…
Let’s begin our exploration of commonly-used chord voicings for a Dominant Seventh Chord with the most basic arrangement of notes…
This edgy, evocative alternative to a basic Minor Triad works great when used judiciously in certain minor jazz ballads…
Although not technically a seventh chord, this colorful, less dissonant alternative to a Minor 7 Chord sometimes serves a similar function and sounds just right for jazz ballads and slow Latin tunes…