Improvising over common chord progression

**MAURICIO SOUZA** · 10-31-2021, 08:31 PM

In this video I would like to share an idea about dominant and altered chords and its sounds. The main thing is that there are two scale approaches that, in my opinion, sound very good and effective for expressing these chords. These scales are the simple natural minor of the tonal center and the mixolydian, one degree above the tonal center (or Ionic half step of the V7 chord). In the first case, the notes related to the V7 chords (1, b9, # 9, 4, 5, b13) are very close to the altered scale degrees and, above all, it is just the relative minor of the key. The second is very close to the subV sound, with only one note changed, wicht is the root of the V7 chord to a major 7. So, it might sound really weird, but it works. I played these dominant alternatives (Eb major and Gb major scales) over a (Dm7-V7alt-IM7) backing track and it sounded ok to me. What do you think about this, does anyone use that kind of approach?

**MAURICIO SOUZA** · 11-02-2021, 03:18 PM

**Victor Saumarez** · 11-03-2021, 02:29 AM

Yes, the standard bebop approach is to use altered notes over a dominant, b5 for non-resolving and #5, b9, #9 for resolving dominants. Some say use a melodic minor a half step above when resolving, and a melodic minor a 5th above when not. Others, use a minor or major chord a half step above etc. I personally find it easier to think in terms of altered notes built on chord shapes, and the melodic minor simply as a major scale with a flattened third. Ultimately, you want to be able to play any note over any chord and make it work.

**MAURICIO SOUZA** · 11-06-2021, 01:19 PM

**Rob MacKillop** · 11-06-2021, 02:27 PM

Quite interesting intervals there, Mauricio. The least interesting, though, was C Major scale over C Major chord - maybe try G Major scale instead?

**MAURICIO SOUZA** · 11-07-2021, 06:18 PM

Originally Posted by Victor Saumarez

Yes, the standard bebop approach is to use altered notes over a dominant, b5 for non-resolving and #5, b9, #9 for resolving dominants. Some say use a melodic minor a half step above when resolving, and a melodic minor a 5th above when not. Others, use a minor or major chord a half step above etc. I personally find it easier to think in terms of altered notes built on chord shapes, and the melodic minor simply as a major scale with a flattened third. Ultimately, you want to be able to play any note over any chord and make it work.

The altered scale of the melodic minor is classical bebop language, and it's more correct, I believe. Anyway, this half note approach works really well, and especially with faster tempos it's almost the same. As you said, it depends on what is easier under your fingers.