About dominant chords and alterations

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Here's a segment from last month's Patreon livestream. Had a question about alterations: where they come from, and how to use them. And it led to this nitty-gritty breakdown.
Check out the whole 75-minute stream on my Patreon page!
➡️ / glennzaleski
Also in this stream was a performance of "The Star-Crossed Lovers", and "Woody 'n You", as well as a discussion of how to "prepare to improvise", a discussion of minor ii-V-i's, and attempt to explain how to practice "time-feel".
I do a livestream like this every month exclusively for my Patreon subscribers - sign up to tune in next month and ask your question! Patrons also have access to hundreds of hours of exclusive educational videos, previous livestream footage, and solo piano videos. I also have limited space available for private lessons.

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1 авг 2022

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Комментарии : 14

@jarbasgoulartdecastro9104 2 года назад

Thanks a lot,Glenn!!!

@edzielinski 2 года назад

Thanks Glenn. The concepts you present are very relatable. Great stuff.

@michaelbrorby7712 Год назад

Cool Glenn. I like your breakdown!

@dominicduvalbass Год назад

Amazing! ❤

@solidgoold Год назад

woah this just changed everything for me

@KazTrumpet 2 года назад

What is the scale that paints the sound of II7 that resolves to II-7? Every time I come to a II7 in that context (II7 → II-7 V7 I) I hear the II7 as II13#11 implying the D triad over C7 (if we were in the key of Bb). “First 5 notes of D major scale over C7” kind of sound. Curious to know what scale you think for that sound. Thank you

@grahamthomason8796 Год назад

For that sound, I think of the lyrdian dominant scale, also known as the acoustic scale, which is the fourth mode of melodic minor. For C7 it's C D E F# G A Bb

@robpallot5058 Год назад

Interesting stuff as always! However, why do you consider dominant chords as having three main types, not more - as why not also consider Lydian dominant (C, D, E, F#, G, A, Bb) as another discrete sound?

@beaudjangles Год назад

There's not a lot of difference between C LydDom and F maj except the spicy f#. Going from Calt to F maj definitely adds more colour to the movement. But there's no rule saying don't use C LydDom as V scale so go for it if you like it.

@jonasaras 2 года назад

For bebop you should also be familiar with the dominant mode of the harmonic minor scale, particularly on minor ii-V7s

@mergeband 2 года назад

Can we mix them all in one phrase?

@theorygeek00 8 месяцев назад

you can but you might be playing a different scale than the rest of the band

@Jazzmaster58 Год назад

What happened to C7 9/#11supported by G minor melodic scale ? You're mixing too many approaches to the matter. I suppose you've heard of the way classical composers used to explain dominant chords resolution like Barry Harris does.