DOMINATE 7 CHORDS: Which Scales Go with Which Chords?

This is the fifth in a series of articles entitled “Which Scales Go with Which Chords?” covering the Dominate 7 Chords.

When improvising, it’s important to know which scale(s) to use.  Traditional Harmony usually has one scale for the entire song (or section). When the song modulates (changes key), the scales used are also changed.

Jazz improvisers use any scale they feel sounds best. You still cannot violate the “laws of harmony” – there’s simply more freedom in selecting compatible notes from alternative scales.

Besides the standard Dominate ⁷ (1 ▪ 3 ▪ 5 ▪ ^♭7), there are two other versions of dominate chords that behave similarly. (We’ll discuss “why” later).

• Standard 5^th – Dominate ⁷ (1 ▪ 3 ▪ 5 ▪ ^♭7)
• Diminished 5^th – Dominate ^{7 (-5)} (1 ▪ 3 ▪ ^♭5 ▪ ^♭7)
• Augmented 5^th – Dominate ^{7 (+5)} (1 ▪ 3 ▪ ^#5 ▪ ^♭7)

In Traditional Harmony there are no scales that include the Dominate ^{7 (-5)} or Dominate ^{7 (+5)} – however Jazz Theory allows the use of enharmonics to create equivalent chords.

When improvising against a Dominate ⁷ (1 ▪ 3 ▪ 5 ▪ ^♭7) these are your four traditional scale choices:

When improvising against a Dominate ⁷ (1 ▪ 3 ▪ 5 ▪ ^♭7) these are your three additional Jazz (enharmonic) scale choices:

Your selection process when improvising:

Major and minor chords can choose more freely when selecting scales for improvisation. However, Traditional Harmony is “correct”; dominate chords are closely tied to the NEXT chord(s) in their chord progression. Choose a scale with a close relationship to the subsequent chords in your progression.

SPECIFIC CHOICES: While all of the (above) scales can be used with a standard Dominate 7 chord, your scale choices become specific when adding alterations and extensions.

THE “OTHER NOTES”: What to do with the “other notes” not found in the (above) scales?

PASSING TONES: The “other notes” allow you to move (transition) among the notes within your chosen scale. When the “other tone” is sharp (#) it usually moves- up to the next scale note. When the “other tone” is flat (I ) it usually moves-down to the next scale note.

USE YOUR EAR! Please do try breaking the (above) ancient “passing tones” rule. However, you’ll quickly discover “passing tones” really do sound better when their next move is to a scale note.

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