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Lyle Ronglien >> Arpeggio Applications >>

Arpeggio Applications
Lesson 4 - Altered Dominant

Lesson 4 sample

Lyle: The altered dominant chords and sounds are very colorful sounding to some, down right awful to others! These chords and sounds are used in Jazz, Funk, and Progressive Rock styles. They help allow you to play �outside the box� or outside the scale/key. If you are new to altered dominant sounds, they could sound bad at first. It's like trying a new food; it could take time to acquire a taste for it.

Lyle: The basic dominant chord is made from a major triad and a flatted 7th (1, 3, 5, and b7)

C major scale and C7 arpeggio

Lyle: The Altered dominant chords can have flat 5's (b5), sharp 5's (#5), flat 9's (b9), and sharp 9's (#9), and combinations of these altered tones.

Lyle: By playing several of the basic arpeggio patterns that you've learned in this series, you'll be able to create colorful altered dominant sounds while improvising against a single dominant 7 chord.

Lyle: Here's your jam track you'll be working with:

Jam Track in F#7

Lyle: The jam track is a single F#7 chord sound:

F#7 chord

Lyle: The scale directly related to the dominant chord is the Mixolydian mode:

F# mixolydian

Lyle: If you play a F#7 arpeggio against a F#7 chord you'll create a plain dominant sound.

riff 1 - F#7 arpeggio

riff 1 - F#7 arpeggio

F#, A#, C#, E = F#7 chord
1,    3,   5,  b7, = Notes compared to F#7

Lyle: To create a F#7b5b9 sound, Play a dominant arpeggio up a flatted 5th.

riff 2 - C7 arpeggio

riff 2 - C7 arpeggio

C,  E,   G,  Bb = C7 chord
b5, b7, b9, 3, = notes compared to F#7 chord

Lyle: To create a F#13b5 sound, play a Minor7b5 arpeggio up a flatted 5th.

riff 3 - Cm7b5 arpeggio

riff 3 - Cm7b5 arpeggio

C,  Eb, Gb, Bb = Cm7b5 chord

b5, 13,  1,   3,  = notes compared to a F#7 chord

Lyle: To create a F#7b9#5 sound, play a Minor7b5 arpeggio down a Major 2nd.

riff 4 - Em7b5 arpeggio

riff 4 - Em7b5 arpeggio

E,  G,  Bb, D = Em7b5 chord
b7, b9, 3,  #5, = notes compared to a F#7 chord


Lyle: To create a F#7#9 sound, play a Minor7 arpeggio on the root of chord.

riff 5 - F#m7 arpeggio

riff 5 - F#m7 arpeggio

F#,  A,  C#, E = F#m7 chord
1,   #9,  5,  b7 = notes compared to F#7 chord

Lyle: Here's one way to play these crazy altered dominant chords in order that we've just gone through:

altered dominant chords

Lyle: Here's all 5 riffs/arpeggio sounds and chords put together back to back, just like in the lesson sample. Notice the shift in chord sound from one arpeggio to the other:

solo example

solo example

Lyle: Pretty wild sounds there! You kind of have to open up your ear and let the altered sounds settle in so you get used to them.

gpg: Would these work over a mixolydian progression or just a static chord? They seem real over the top?

Lyle: This lesson is an example over a single chord. If you have other dominant chords in a progression and you want to make altered sounds for them, apply the rules from above for those chords.

Lyle: This looks like a good time to take a break. See you at the next lesson!



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