Dominant 7

	Dom 7 Mixolydian
	Bebop
	Spanish b9
	Lydian
	Hindu
	Whole Tone, 6 tone scale
	Diminished Whole Tone
	BeBop Half Diminished
	Half Diminished Locrian
	Blues

Dominant 7

The Dominant scale (Dom7) has the VII degree of the Major scale diminished by a half note. It is also the V mode of the Major scale, the Mixolydian mode. The Dominant scale has therefore no leading tone anymore and sounds less happy, but has more suspense.

Scale	Note Sequence	Interval	Transposed to C
Major	C D E F G A B C	W W H W W W H	C D E F G A B C
Dom 7 ( Myxolydian )	G A B C D E F G	W W H W W H W	C D E F G A Bb C

Click on the notes to hear the Mixolydian scale

Chord

Chord	Note Sequence
C7	C E G Bb D

The Dom7 scale is mostly played over seventh chords and is therefore in the II-V-I progression.

Seventh Chords

If we expand the triad with a third a seventh chord is created.

Chord	Symbol	Structur	Note Sequence
Major Triad	C	1 3 5	C E G
Minor Triad	Cm	1 b3 5	C Eb G
Major Seventh Chord	Cmaj7	1 3 5 7	C E G B
Minor Seventh Chord	Cm7	1 b3 5 b7	C Eb G Bb
Dominant Seventh Chord	C7	1 3 5 b7	C E G Bb

The dominant seventh chord consists of the triad on the V degree of the major scale and the scale's seventh.
Dominant seventh chord in C major is as a result G B D F
The dominant seventh chord that is built from the root C (C E G Bb) belongs to F major scale.

You can find more information about seventh chords under the Chord-Clock topic.

Dominant 7th Suspended 4th Chord

For the dominant 7th suspended 4th chord the IV degree replaces the III degree. If the dominant7 scale is used for it you should use the note of the III degree only as a passing tone. For C7sus4 chord the Dom7-BeBop scale or the Bb-major pentatonic scale (Bb C D F G Bb) fit as well.

Chord

Chord	Tone Sequence
C7sus4	C F G Bb D

The II - V - I Progression

If we build on the second, fifth and first degree of a major scale seventh chords, by adding thirds, we get again the three types of the seventh chords mentioned.

Degree	Chord	Symbol	Note Sequence
II	Minor seventh chord	Dm7	D F A C
V	Dominant seventh chord	G7	G B D F
I	Major seventh chord	Cmaj7	C E G B

This progression is widely used (not only in Jazz!), because it contains one of the strongest resolutions. The intervals between the roots are for this progression perfect fourths (ascending) or perfect fifths (descending). Under the topic Chord-Clock you will find further information about this progression.

The II-V- I Progression in Major Keys

In the major key we have following chord types, chords and suitable scales. The scales deal with the II, V and I mode of the major scale.

Degree	II	V	I
Chord Type	Minor Seventh Chord	Dominant Seventh Chord	Major Seventh Chord
Chord	Dm7	G7	Cmaj7
Scale	D-Dorian	G-Mixolydian	C-Major
Scale-Substitut	D-Moll	G-BeBop Dominant	C-Lydian

For recollection the involved modes of the major scale

Degree	Scale	Note Sequence
I	Ionian)	C D E F G A B C
II	Dorian	D E F G A B C D
V	Mixolydian	G A B C D E F G

Over the entire II-V-I progression you can play the notes of the I degree.

To have everything sound a little bit more exciting you have three possibilities:
1. Scale substitution (Play other scales that fit the chords)
2. Altering of the V-dominant chord.
3. Tritonus substitution.

3. Tritonus Substitution

Tritonus, lat./greek = Three-Note-Step = Augmented fourth

The G7 chord is substituted by the Db7 chord, which is a Tritonus away.
Here are the two chords for comparison.

Chord	Structure	Note Sequence
G7	1 3 5 b7	G B D F
Db7	1 3 5 b7	Db F Ab B

As you can see, the characteristic sounding chord notes, the third and the seventh are contained in both chords and have just exchanged their place.

The Db7 chord is very similar to the G7b9b5 chord (refer to altering of the dominant chord).

Following scales fit the new Db7 chord :

Db Mixolydian

Db Lydian dominant

BeBop Dom7

The Dom7-BeBop scale is a major scale with an additional minor seventh (Bb).

Scale	Note Sequence	Intervals
Major Scale	C D E F G A B C	W W H W W W H
Dom7 BeBop	C D E F G A Bb B C	WWHWWHHH

Click on the notes to hear the Bebop-scale.

With the following overview we will bring some clarity into the BeBop mess! Two of the ScaleTwister's BeBop scales are actually modes of the Dom7 BeBop scale!

1. Mode (Dom7)	Dom7 BeBop	C D E F G A Bb B C	W W H W W H H H
3. Mode (Dom7)	BeBop Half Diminished	E F G A Bb B C D E	H W W H H H W W
5. Mode (Minor)	BeBop Minor No. 1	G A Bb B C D E F G	W W H W W H H H

Chords

C

C7

C9

C13

C7sus4

Spanish b9

The Spanish scale is an altered Phrygian scale (3rd mode of the major scale). The third note is augmented by a half note and has, combined with a diminished ninth, a so called Phrygian chord, and a spanish sound.

Click on the notes to hear the Spanish b9-scale.

Scale	Note Sequence	Intervals	Transposed to C
Major scale	C D E F G A B C	W W H W W W H	C D E F G A B C
Phrygian	E F G A B C D E	H W W W H W W	C Db Eb F G Ab Bb C
Strong Phrygian	E F G# A B C D E	H T H W H W W	C Db E F G Ab Bb C

Application

• Miles Davis in «Sketches of Spain»
• Chick Corea in «La Fiesta»

Chord

Cphryg	C C# F G Bb	1 4 5 b7 b9
C7b9	C C# E G Bb	1 3 5 b7 b9

Lydian Dominant

This scale is the fourth mode of the melodic minor scale and is called Lydian Dominant (b7).

Click on the notes to hear the Lydian-scale.

the 7 modes of the melodic minor scale

Degree	Scale	Note Sequence	Intervals	Transposed toC
I	Melodic minor scale	A B C D E F# G# A	W H W W H W W	C D Eb F G A B C
IV	Lydian Dominant	D E F# G# A B C D	W W W H W H W	C D E F# G A Bb C

Here are the ScaleTwister’s three Lydian scales for comparison.

Scale	Note Sequence	Intervals	Transposed to C
Lydian (+4)	F G A B C D E F	W W W H W W H	C D E F# G A B C
Lydian Dominant (+4b7)	D E F# G# A B C D	W W W H W H W	C D E F# G A Bb C
Lydian expanded (+4+5)	C D E F# G# A B C	W W W W H W H	C D E F# G# A B C

Application

Typical of the Lydian scale is the augmented IV degree (F#). With the additional diminished VII degree, the Dominant Lydian scale fits the major seventh chord because it contains no dissonant sounding note (4th note = F).

Chords

C

C7

C9

C13

C7#11

Hindu

This scale is the fifth mode of the melodic scale and has no universal name but has an Indian sound.

Click on the notes to hear the Hindu-scale.

The Hindu-Scale

Degree	Scale	Note Sequence	Intervals	Transposed to C
I	Melodic minor	A B C D E F# G# A	WHWWHWW	C D Eb F G A B C
V	Hindu	E F# G# A B C D E	WWHWHWW	C D E F G G# Bb C

Application

Within a II-V-I progression the scale in minor key can be used over the V-chord.

Whole Tone

The whole tone scale consists of 6 notes and is a symmetric scale, thus each mode of the scale is again a whole tone scale. Every tone from this scale can be used as a root note.

Click on the notes to hear the Whole Tone-scale.

There are only two whole note scales, and despite of that they are not threatened of extinction!

C	D	E	F#	G#	Bb	C
C#	D#	F	G	A	B	C

Application

With this scale you can add spice to your improvisation! But use it only sparsely, because of the symmetric construction it will sound quite mechanic.

Chord

If this scale is to be used exclusively, it is advertised with one of the following chord notations.

C7aug

C aug

C7+

C+

C+C7#5

Diminished Whole Tone

One of the most important Jazz scales, besides the BeBop scales, is the Diminished Whole Tone scale. It is the VII mode of the melodic minor scale and is also called altered or super Locrian scale.

Click on the notes to hear the Diminished Whole Tone scale.

Degree	Scale	Note Sequence	Intervals	Transposed to C
I	Melodic minor scale	A B C E F# G# A	WHWWWWH	C D Eb F G A B C
VII	Diminished whole tone scale	G# A B C D E F# G#	HWHWWWW	C C# D# E F# G# Bb C

As the name reveals, it is a combination of the Whole Tone scale and the Diminished scale (Half Tone — Whole Tone scale*). The first 5 notes are from the Diminished scale and the last 4 notes are from the Whole Tone scale whereas E and F# overlap.

Here is an overview

Diminished whole tone scale	C C# D# E F# G# Bb C	HWHWWWW
Diminished H-W-Scale*	C C# D# E F# G A Bb C	HWHWHWHW
Whole tone scale	C D E F# G# Bb C	WWWWWW

Application

The Diminished Whole Tone scale and the Diminished Half Tone — Whole Tone scale (major color circle) sound quite similar and both are used with altered dominant seventh chords. Altered Dom7 chords contain scale foreign notes and are used in Jazz to generate suspense. There are the following variations.

Fourth	4 / 11	Augmented by a half note	C9#11
Fourth	5	Augmented or diminished by a half note	C7#5 / C7b5
Ninth	9	Augmented or diminished by a half note	C7#9 / C7b9
Thirteenth	13	Diminished by a half note	C11b13

Chords

C7alt

C7#9#5

C7#9

Chords for the Diminished Whole Tone scale

C7alt

C7#9#5

These chords are rather used for the Diminished H-W scale

BeBop Half Diminished

The C-BeBop half diminished scale contains the same notes as the G# BeBop Dom7 scale. The two scales are separated by a major third.

Click on the notes to hear the Bebop-Scale.

BeBop Half Diminished	H W W H H H W W	C C# D# F F# G G# Bb C
Dom7 BeBop	W W H W W H H H	G# Bb C C# D# F F# G G#

BeBop Diminished	C		G#	BeBop Dom7
	C#		A
	D		Bb
	D#		B
	E		C
	F		C#
	F#		D
	G		D#
	G#		E
	A		F
	Bb		F#
	B		G

And here a comparison with the Half Diminished Locrian scale (Dom7 color circle):
The BeBop Half Diminished scale has one more note!

BeBop Half Diminished	HWWHHHWW	C Db Eb F Gb G Ab Bb C
Half Diminished Locrian	HWWHWWW	C Db Eb F Gb Ab Bb C

Chords

C Ø	C Eb Gb Bb

Half Diminished Locrian

This scale corresponds to the VII mode of the major scale.

Click on the notes to hear the Half Diminished Locrian scale.

With the diminished III degree (Eb) it has a minor characteristic.

Degree	Scale	Note Sequence	Intervals	Transposed to C
I	Ionisch (Major)	C D E F G A B C	WWHWWWH	C D E F G A B C
VII	Locrian Half Diminished	B C D E F G A B	HWWHWWW	C Db Eb F Gb Ab Bb C

Application

The Locrian scale fits the half diminished chord. The symbol for the half diminished chords is a circle with a diagonal line: Ø

Attention: The 2nd degree sounds dissonant.

The Half Diminished Locrian scale is easy to learn, because it has the same notes as a major scale a half note higher.

This can be seen best by comparing the B Half Diminished Locrian scale and the C major scale.

B Half Diminished	B C D E F G A B
C Major	C D E F G A B C

Chords

Cm7b5

CØ

Half Diminished Locrian #2

This scale is the VI mode of the Melodic Minor scale. This scale is not on the ScaleTwister, but is derived easily from the Half Diminished Locrian scale.

Degree	Scale	Note Sequence	Intervals	Transposed to C
I	Melodic minor	A B C D E F# G# A	WHWWHWW	C D Eb F G A B C
VI	Locrian #2	F# G# A B C D E F#	WHWHWWW	C D Eb F Gb Ab Bb C

Here are the two Half Diminished Locrian scales for comparison. The difference is on the II degree.

Half Diminished Locrian #2	WHWHWWW	C D Eb F Gb Ab Bb C
Half Diminished Locrian	HWWHWWW	C Db Eb F Gb Ab Bb C

Chords

Cm7b5

CØ9

CØ#2

Blues

Expanded Mixolydian Scale

You can find the Mixolydian mode on the V degree of the Major scale. This scale contains already a diminished VII degree and has also a major character.
To the 7 modes of the major scale. To blues overview.

Scale	Note Sequence	Intervals	Transposed to C
Major scale( I Mode)	C D E F G A B C	WWHWWWH	C D E F G A B C
Mixolydian ( V Mode)	G A B C D E F G	WWHWWHW	C D E F G A Bb C
Mixolyd. + 2 Bluenotes	G A Bb B C Db D E F G	WHHHHHWHW	C D Eb E F Gb G A Bb C

Chords

C

C6

C7

C9

Cmaj7

Cmaj9