Dominant Voicings Part 2

Dominant Chord Voicings Part 2

In this lesson we are going to explore some of the different option you have available to you for voicing dominant chords.

This tutorial is broken into 2 parts and we will be revisiting theory on UST, suspended harmony and inner voice movement over dominant chords.

We follow the same format as the lessons on major and minor chord voicing options. The idea behind these videos is to cover the melody notes that you are most likely to come across for major, minor and dominant chords.

For major chords, the melody will more than likely be one of the notes of the Lydian mode. So if you are playing a C major chord, the melody note will probably be one of the notes from the C Lydian mode.

For minor chords, the melody note will more than likely be from the Dorian mode and also the b6th from the Aeolian mode.

For dominant chords however, you can come across virtually any note in the melody. The only exception is the major 7th. If we think of the mixolydian mode, that gives us…. We then have the alterations that are b9, #9, #11 and #5 and so that only leaves this one note out.

Because of this, you have many more options when voicing dominant chords. We are now going to work through all of the potential melody notes you could come across using actual examples from jazz standards we have covered. In part 1 we work from Root up to major 3rd and in part 2 we start at the 4th and work up to the b7.

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  Dominant Chord Voicings Lesson Supplement File Type: pdf

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