n
Building Jazz Chords
‘Most jezzis Fyaimonized with Seventh Chords. Seventh Chords ate four-note chords built in thirds (every other note ota scale),
AMisjor Seventh Chord uses the first thitd, (ith. and seventh notes ofe majorscale
31.
Cefn Seale CMalor Seventh Chord
He Sass: Ss res apes = see cz a= 5
Lowering the top note (called the seventh) of the Major Seventh Chord changes the chord to a Dominant Seventh Chord,
Lowering the second (called the third) and top note (seventh) ofa Major Seventh Chord charges the chord to a Minar Seventh Chord.
32.
CMojar Seventh Chord Dominant Seventh Chord Minor Seventh Chord
‘Chords have specificlabe's called Chard Symbols, The first letierin a Chord Symbol always indicates the rootorthe
[bottom note of the chord. The letters and numbers on the fight indicate the chord type major ar dominant for example),
Chord Name Chord Symbol
(CMajor Seventh Oma?
‘Dominant Seventh C7
‘Minor Seventh Cmi7
33. MAJOR SEVENTH CHORD WORKOUT (Cij7)
(Play ender rate)
34. DOMINANT SEVENTH CHORD WORKOUT (C7)
(Peay either note)
se
35. MINOR SEVENTH CHORD WORKOUT (0/7)
(Play either note}
=3
The Dominant Seventh Chord is « “jazzy” chord
Because of ts fattened seventh (often called a blue note) the Dominant Seventh Chord has. very Jazzy” or bluesy"sound,
The Blues Progression
‘The harmony of jazz song i called the chord progression. The most comman chord progression in jazzis the blues,
Usually the blues is a twelve-bar repaated pattern using three Dominant Seventh Chords. The rots (bottom notes} r
ofthese three chords are usually the frst fourth, and fith notes ofthe key ofthe blues.
36. LISTEN TO THE BLUES PROGRESSION — B> Concert
c7 #7 C7 67 (7 ¢7
Chord I¥.choret ichord Vchord Vchord | chord12
37. BLUES WORKOUT - Roots and Sevenths
07
¢7 CA
7 o7
3
Se
3
38. BLUES WORKOUT - Roots, Thirds, and Sevenths
7
c7 $7. Ft ¢7
$ > >
>
39, MAKE UP YOUR OWN - 2-Bar Solos using Roots, Thirds, and Sevenths
C7 gana Solo £7800
> >
3
7 7 7 7
gi 7 eana ee or
. 7?
Building the Dominant Scale
You can bulld ‘dominant scale" by inserting notes between the chord tones ofthe Dominant Seventh Chord.
This scale “its” (sounds Ike) the Dominant Chord
Dominant Chord Makes o Seale: Dominant Scale
= ee =
° 7 é
40. BLUES WORKOUT - Dominant Scale
C7 c7 7.
07 of 67 07
big) ; sate a Se i
ge peat f
41, BLUES WORKOUT - Scale steps 1, 2, and 3
¢7
cr gd ft 073
42. BLUES WORKOUT - Scale steps 1 through 5
c7 7.
7 47 7 C7
43. BLUES WORKOUT - Seale steps 1 through 5, and 57
7 ‘7.
07 67 #7 7
44. MAKE UP YOUR OWN - 2-Bar Solos fn
7
Band Sole Band,
0 @ fr 07
45. OUR FIRST BLUES - Full Band Arrangement with Solos
07 AM
a Mike Steinel
cr AoW. 67, Fr c7 Dane
a > a ee
C7 Sola Section use notes trom the scates shown) fa
c7 Pa ‘7 07 2.0, AL FINESt. Louis Blues (composed byw Handy)
46, RHYTHM WORKOUT
Saeie. > > > eeu)
‘Dao Sah Doo Beh {88h Deo Bah Dit Deo Bah Doo ith Dosh Bah Doo th Dit Doo Bah
sana
£5 Ss
> > >
(2p Bah Do0 83h 88h Doo Bah Ox Doo Bah
47, MELODY WORKOUT
aay:
>
= > >
>
W.C. Handy, often called “The Father OF The Blues” yas a famous composer, bandleader and music publisher, He was one cf
the first musicians to recognize the commercial potential of Arican/American folk usic and he worked to incorporate these
influehcésinto the arrangements for his nine-piete orchestra
Harmony Review
Innc36 we leamed about the blues progression in'By concert. Our version oF St. Louis Blues uses a simillarchord progression
but in adifferent key:G (F concert).
48. LISTEN TO THE CHORDS FOR ST. LOUIS BLUES
7 0 67 7 60? gs?
1Ghord Wehord 1Chord Vchord iVChord Chord
49. BLUES WORKOUT FOR ST. LOUIS BLUES - Roots, Thirds, and Sevenths
64 7
r
50. BLUES WORKOUT FOR ST. LOUIS BLUES - Scale steps 1 through 5, and >7
0?