Question on the All Blues (issue 3 tutorial)

[nleclair]

Hello everyone,

Being a newbie in music theory, I was wondering why we are using, in the All Blues lesson- Example 3 - G7, Bar 1: an Fmaj7 arpeggio which gives a suspended sound on G: 13 b7 9 4.
If we are playing in the key of G, why are not we using F#m7b5 arpeggio ?
Is it because it's a dominant 7 chord and it's in the mixolydian mode with the F half step down ?

Best regards to all

Nic

[M-ster]

Yes, you're getting it. G mixolydian, so no sharps or flats, right? Playing off B-7b5, D-7, and Fmaj7 arpeggios would be very typical approaches, here.

[brwnhornet59]

Make the FM7 arp 1, 3, #4, 6. Sound familiar? FM7#11 is also a common sub for the G9 Chord, as would be B-7b5.

Cool stuff.

[nleclair]

Thanks for you reply. Jazz is a freacking big puzzle ! Can now handle few pieces...

[brwnhornet59]

Originally Posted by nleclair

Thanks for you reply. Jazz is a freacking big puzzle ! Can now handle few pieces...

No prob, we have all been there.

BTW, you do realize that G7 is really based in C right? That is why they we using th IV chord, FM7 as the Arp against it not F#-7b5. Make sense?

[nleclair]

Originally Posted by brwnhornet59

No prob, we have all been there.

BTW, you do realize that G7 is really based in C right? That is why they we using th IV chord, FM7 as the Arp against it not F#-7b5. Make sense?

OK. correct me if i'm wrong. G7 is the V chord in C (G B D F) . Theorically, I could use anything degree in the key of C (in preference, that has a F in the arp so it underlines the dominant 7) by exemple Dm7, Fmaj7, G7 (of course), bm7b5 ?

[brwnhornet59]

Yes sir. B-7b5 gives you, B D F A. Those chord tones played over G7 gives you, 3 5 b7 9 of G7. So you are playing a rootless Dom 9 sound. Same thing applies using it as a chord sub.

D-7 gives you, D F A C. That is 5 b7 9 11. This implies and sounds good over G7sus.

[nleclair]

Clic ! the light bulb went on. BTW, i hovered your site, i'll take time to go deeper in it, looks loaded with great stuff. Now I need to know all these relationship by heart and stop counting degrees on my fingers ! lol. Thanks for you time br. It's very generous of you. Hope one day I will be Jazz enough to help others.

[brwnhornet59]

Write it out. That is the best way to internalize it.

Take: C D E F G A B

Now build the chords of the modes with this. Start with triads, then add the 7th. Then in the end extend them to their fullest degree's, 9 11 13.

Note the relationship of these chords to each mode. Play them as arps. Do whatever you can to familiarize yourself with these shapes and sounds. There are many many ways to play all this stuff. 1 step at a time.

Learn the intervals of each shape, IE: D Dorian has a natural 6th, where all of the other minor modes built from the major scale has a b6. These little telltale signs help you with orienting yourself.

F Lydian has a #4,(#11) yet is still a Major 7th chord.

G has a b7etc... Make sense? Knowing intervallic relationships is key.



If you have questions just ask.

[nleclair]

yes, that is how I'm working on the different modes, i.e. by comparison with Ionian for major modes. mixolydian is like Ionian with a b7, Lydian with a #4. and for minor modes, i refer to Aeolian. Dorian with a natural 6, Phrygian with a b2, and Locrian with a b5 and b2. Helps a lot. (sorry for the writting, i'm not perfectly fluent in english). I spent quite a good amount of time on the book : Music Theory by Tom Kolb (hal Leonard guitar method collection). He's quite impressive that guy. Now, the difficult part : from head to fingers !

[brwnhornet59]

Great job. Keep it up. Just make sure that you try and apply this stuff asap. That way you can get it in your head much quicker as well as have fun playing.

Since you are playing a blues, look in Matt Warnocks site, in the Guitar lessons. He has some really cool ideas for chord subs for blues that you should be able to apply right away. Play the arps as well. Have fun!

[nleclair]

Thanks. Have a great day. Nick