-Playing on Dominants Part One - The Basic Sound - Mixolydian
The dominant chord provides movement in tonal music : it's tendency to resolve (aka "to go somewhere else") is very strong. It has an even stronger harmonic pull when the seventh is added on top of it.
The dominant seventh is used most of the time in jazz music. If you look at sheet music or in fakebooks, dominant seventh chords have "just a number" so to speak : they're identified with "7" (or "7th"), "9", "7(b9)", "13" or "13(b9)" and "dom7" and so on.
In this series we will look into the most common colors for the dominant chord. I like to approach them by their respective sound, starting with the most consonant and moving towards more alterations of the basic sound.
Please note :
The dominant chord is spelled with arpeggios and scales in the course of typical jazz guitar improvisations.
Be aware that all of the material discussed here can be applied using scales and arpeggios in positions. (see positions article) All the material can also be practiced diagonally at some point (see diagonal article).
Let's start with the most basic sound of all dominant scales / chords : the mixolydian mode.
As we already know, the dominant is usually built on the fifth degree of a scale. Here, we're using the "plain old" major scale.
C major scale contains the same notes as G mixolydian scale :
In brief : By playing the C major scale (C D E F G A B) but starting on G (G A B C D E F)... we get that infamous G mixolydian sound !
And, YES, it's as simple as that!
A Closer Look
If we go in a bit deeper and take the mixolydian scale appart and build it back we'll find...
The scales degrees : 1 2 3 4 5 6 b7
(as compared to a G major scale, only the F natural differs... thus we use "flat 7" to qualify that tone)
Vertical chord tones : 1 3 5 b7 9 11 13
As you can see (and hopefully hear!) this is a very consonant sound. It's universal very similar to the major scale : the mixolydian dominant chord / scale can be heard in almost all music ... everywhere on the planet.
For example, G mixolydian comes from C major... so here's G mixolydian based (with minor adjustments) on the "52" position of C major :
Two-octave mixolydian scale and 7th arpeggio.
You can, of course, practice arpeggios that go up to the 9th, the 11th etc. and some inversions (and/or all of the above mixed-up!)
...and all of that in many positions (... ok ok, a few positions, at least!)
This is much more subjective, it depends on the player and situation. Here's how I would play that dominant chord mixolydian scale and arpeggio...
...on two octaves diagonally :
... and on three octaves diagonally (notice the finger slides) :
The fingerings for diagonal playing are not "set in stone": a few useful sets of fingerings exist. Again, you have to find your own way of doing that (and practice arpeggios that go up to the 9th and above...)
We can apply this scale pretty much any time we see a plain "7th" on a chart (not "maj7" or "min7" though!) Because it's such a basic sound, most tunes and progressions contain a "plain old" dominant chord or two!
progression is a good starting point. It has huge potential mixolydian applications : on a traditional bebop blues, you can use the mixolydian scale in up to 4 different keys! (the I, IV, VI and V chords).
Also check out the "bird blues" type of progression (ie "Blues for Alice" or "Chi chi"). You could go up and play mixo in as much as 7 or 8 different keys on that progression alone!
Now you're really going to town with that kind of stuff.
Let's see. Let's "C" that progression (get it?!) :