Sax Lesson 7: Dominant 7th using Major 7(#5) chords

Visit mattotto.org to download the PDF for Lesson 7: Dominant 7th using Major 7 (#5) chords. The exercise starts on C7 on continues around the circle of fourths. The melody over C7 is grouped in 5 and is composed of a sequence outlining the harmony BbMajor7(#5), GbMajor7(#5), DMajor7(#5) and back to BbMajor7(#5). The lesson is played in eight-notes on beat one and then in triplets on beat one. Sometimes finding interesting substitutions for a Dominant 7th can lead to some new melodic ideas and some fresh inspiration in an otherwise mundane harmonic environment. This exercise uses Major 7 (#5) descending by major 3rds over one dominant 7th to create an idea that sounds slightly different than a standard Lydian Dominant melody. Over C7 the melody will outline Bb Major 7(#5), Gb Major 7(#5), D Major 7(#5) and back to Bb Major 7(#5). By playing a sequential motif grouped in 5 over this descending Major 7(#5) progression, we get an interesting melody that still sounds like C7 yet introduces some well organized approach notes. The exercise is played in eight-notes and than again in triplets. The PDF contains a more detailed explanation of both the Major 7(#5) substitutions and the groupings of 5. Its also interesting to notice that the entire melodic/harmonic phrase comes from the classical augmented scale: over C7 the Bb classical augmented scale is Bb Db D F Gb A Bb (which is comprised of 2 augmented triads a half step apart: Bb augmented triad and A augmented triad). This melodic exercise works over major and minor chords as well The melody that Ive associated with C7 could therefore be played over Bb Major 7, Gb Major 7, or D Major 7 or their relative minors; G minor, Eb minor and B minor. Anyway, the options are limitless once you add some rhythmic variation.

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[jazzway]

hello matt. First of all I want to thank you for sharing such a good lesson

in this lesson. over chord C7 play the Dmaj7#5 Gbmaj#5 Bbmaj7#5 .(these three augumented scales ，they are the same notes) A perfect combination of the three .the C bebop dominant .C Lydian b7 and C diminished scale !Or I think is too complicated.

[MattOttoJazz]

@jazzway Yes, all 3 Major 7 #5 chords are from the same classical augmented scale... this is another way to conceptualize the same group of notes. Thanks for checking it out.

[rubberbandsax]

This reminds me of something that Jimmy Halperin would play. Really far out phrase. Time to hit the shed.

[MattOttoJazz]

@rubberbandsax Thanks! I really enjoy Jimmy Halperin's improvising... great player.

[rayray50005000]

HEY MATT, WHERE CAN I GET A TRANSPOSED (PDF) VERSION OF LESSON 7: FOR Eb ALTO SAXOPHONE?

[MattOttoJazz]

@rayray50005000 Visit mattotto.org, all the lesson PDF's are there. Each lesson melody is written out in every key so just start on the key the relates to the alto sax (up a major 6th).

[mdudekm]

Nice meme ;) I've already incorporated it into my playing.

[jupows]

i love it..thanks.

[MattOttoJazz]

@blacfrostmmh94 Thanks for the comment, I'm glad you like the material.

[MattOttoJazz]

@Passion613 Play the chord with one hand on piano and the melody with the other.