JAZZ THEORY (BeBop Drills)
The Jazz Dominant Chord - V7
The
chord which gives BeBop harmonic progressions their greatest
forward momentum is the dominant chord. Built originally from
the 5th degree of a major scale, this seventh chord is used to
resolve to any number of targets, especially those either one
step forward through the cycle of fifths, or down a half step.
With its related 11-7 preceding, it is the most common occurrence
in jazz harmony. We will refer to it as the V7 when resolving
through the cycle of fifths, or subV7 when resolving down by
half step.
Because
of its function as a chord of tension, the V7 accepts more
dissonance than any other chord. Flat 9, natural 9 and sharp 9
are all dominant tensions, as are sharp 11, flat 13 and natural
13. Natural 9 is used singularly, while b9 and #9 are often
combined in lines and scales, and one 13 excludes the other,
although movement from natural to flat 13 is not uncommon. We
will use C7, the primary dominant of F major, as our example.
The chord tones C - E - G - Bb [1-3-5-7] extend to the tensions
Db - D - D# -F# - Ab - A [b9-9-#9-#ll-bl3-13].
To
perform the drills, first fix the tonal center of the chord in
your consciousness by playing or singing the root (C in our
example). Next find the lowest possible chord tone or tension
and ascend, as in 1-3-5-b7-b9-9-#9-#l 1-M3-13-1 etc. (C - E - G
- Bb - Db - D - D# - F# - Ab - A - C - etc., for C7). Once you
have reached the highest point possible, descend in the reverse
order to your starting point. Then find the chord tone or
tension in between the first two notes you played, and ascend
and descend in the same fashion. Play each dominant seventh
chord this way through the cycle of fifths [C, F, Bb, Eb, Ab,
Db, F#, B, E, A, D, Gj. String players should do this exercise
one string at a time, piano players use two hands in octaves,
and both can sing or hum the root for the duration of the drill
for that chord.
The
quantity and density of the dominant tensions can take a little
getting used to, but you will find it well worth your while when
you begin hearing the expanded musical possibilities in your
imagination. Many chromatic lines can be created by introducing
connections with tensions on dominant chords. Experiment with familiar
chord progressions, and as always, use your ears
and happy drilling! [top]
- Frank Singer ©2002
I originally learned these concepts from Charlie Banacos, private
instructor.
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BACK
TO THEORY DEN CONTENTS
The
Language of BeBop
The
Use of Tensions 1
The
Use of Tensions 2
The
Use of Tensions 3
The Jazz
Sub-Dominant Chord - II-7
The Jazz Dominant Chord - V7
The II-7 V7 Progression - II V series
The Key of the Moment
"Watch out for
those chromatics!"
Ear Training
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eCUTS
