Improvising Over Dominant 7 (b9) Chords
Dominant 7(b9) chords are a colorful variety of dominant chords that can be used in place of regular dominant 7 chords (e.g in a V-I). They are part of diminished scale harmony and we use the second mode of the diminished scale that starts with the half step in the ascending direction. This 8-note scale contains the root, b9, #9, 3, #11, 5, 13, b7.
The diminished scale is not as hard to use as it might seem. There are only 3 diminished scales, and because they are symetric, anything you play can be shifted by minor 3rds.
Let’s take a look at the scale for C7(b9) as an example. The notes are C, C#, Eb, E, F#, G, A, and Bb. Because of the symetry, we can find 4 major triads (C, Eb, F#, and A) that we can play over the chord. This gives us something familiar and easy to play, and they sound pretty cool exept the C triad which is kind of boring because it lacks color tones. (continued)
The triads other than the one based on the root are called upper structures. Piano players often play these upper structures over the cord in various arpaggios and they work equally well for soloing.
Going a step further, we can play any of these triads with their dominat 7th and/or b9 - you get the idea.
Many colorful licks can also be drawn from the 4 half steps contained in the scale. Inverted, these give us some tasty major 7th intervals that we can play with. Try playing Bb-C#-E-A in an ascending or descending line. This contains an A triad, along with major 7th and tritone intervals. Of course this too can be shifted by minor 3rds for more variations.
Keep in mind also that dominant 7 (b9) chords are tension chords, so you should feel tension while soloing over them and resolve to the next chord. This is pretty cool once you get the hang of it!
Posted by brad under Music Theory | Comments (2)
