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Jazz Guitar Lessons: V7/IV

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Okay, now we're gonna
talk about the next five,
seven of something.
Remember this means the dominate of
one of the other notes aside from one.
In our diatonic chord scale.
Our main total center.
So in the key of G you'll remember if you
build 7th chord above each
not you get a certain number,
number of chords that are, they are,
are diatonic chords in that key so in G.
I'm sticking to,
to G in this whole area of our curriculum.
Because it's right,
right in the center here.
So, you have, one major 7, two minor 7,
three minor 7,
four major 7 remember that one.
Our only naturally occurring dominant 7.
I always say that about that one, because
I'm, I want you to know that we're gonna
get dominant sevens that aren't naturally
occurring as we're working on now.
[SOUND] Five dominant 7.
Six minor 7.
And 7 minor 7 flat five.
It's the only one of those two,
and then back to one.
So those, each one of those
chords in our key, our key of G.
As we play through it, each one of them
can have it's own dominant 7th chord.
I, I explained this
a little bit yesterday.
It's a little bit of a strange concept,
so let me go over it one more time.
As I mentioned many times already,
the dominant 7 chord has a strong magnet,
pulling, pulling it to it's resolution,
pulling it to it's final
chord where it wants to go.
Okay, so we have D 7
wants to pull you to G.
You can feel that.
It's got kind of like pulling the,
the, the string back on a bow
when you want to shoot an arrow.
It's got a little bit more tension in it,
so it really wants to let go and
shoot the arrow.
So this is
So this exist.
from five, seven of one of
the dominant chord in the regular key.
The, the cadence is there.
And, as I mentioned,
as I talked about the five, seven of two.
The dominant 7 of two being.
I, I go to the two chord.
In the key of G.
We're in G.
So the two chord is the A minor 7, right?
Okay, and then.
I go up and find.
I'm gonna borrow,
think about it as borrowing.
I'm gonna borrow
the dominant 7 chord from,
as though that were the key we were in.
I'm just using it for a moment.
Because I want the tension pulling,
pulling me to to the two chord.
So I borrow a two from A.
I go, I count up to the five chord in A.
Takes me up to E.
So, that's what gives us that pull.
Instead of the regular diatonic,
which would be, if we,
we only played songs in jazz that
we're diatonic wouldn't be jazz,
it would be very kinda,
it would sound a little bit white bread.
It wouldn't really sound very interesting.
So, this concept, if we can get
it together, is each of these
chords is gonna give you a little bit more
color, a little bit more juice, a little.
They're gonna be juicier chords, you know?
When you go,
that's just diatonic.
It's very pretty, but if you go.
And make it a dominant 7th chord.
It's juicier.
Gives you a little more pulse.
It's jazzier.
And, of course,
that's what we're here to study, is Jazz.
And let me point out one other thing.
I'll try to give examples,
especially in what we're working today,
of, of real jazz songs that have these.
These chords in them.
I didn't do this when we
were talking about two five,
five seven of two yesterday,
dominant 7 of two.
But, you know, if you're playing I'll
do it in G so it, it stays the same.
If you're playing Satin Doll.
A very famous
jazz song
Well right away,
you're going out of the key there.
Because if you're in G, you go two, five.
Three, six, but the six isn't a minor
chord like it normally would be,
it's a dominant chord.
That's five seven of two.
It pulls you to that chord.
So there's many examples, and
we'll go through them, and
we'll get into play alongs where
we'll look at the whole progression.
We're gonna play on this all
the things you are, or you know,
more complicated blues progressions and
see these things.
Let's go to the four chord,
where we're ultimately heading, right?
So in the key of G.
One, two, three, four.
We go up to the C major 7 in the key of,
key of G, that's the four chord.
Remember when I talk about chords,
I use Roman numerals because
it's it's very difficult.
To see on paper, regular Arabic numbers,
and then in other ar,
you know, two,
7 looks a little bit like algebra.
The, we, in music use roman numerals.
So that there is a differentiation,
between the kind of chord it is, and
the analysis chord.
Or what it means in the key.
All right, so the four chord, roman
numeral four, has to have a five chord.
That's what I'm looking for.
Five, seven, of four.
Dominant, the dominant of four, to lead
us to the four chord in a juicier way.
[SOUND] well here's the four chord.
Let's count up five notes
to it's dominant chord.
Which we're going to borrow.
Remember it's like borrowing it from its
other, its real, it's own key, right?
C, D, E, F, G, one, two,
three, four, five, zero.
Which takes us right back to G.
The key that we're in.
Okay, so
G is the five chord in the key of C.
But, in the key of G that we're in,
that would be a, A major 7, so
what do we have to do?
We have to make it a dominant 7, okay?
So basically to get to four,
I'll play the four here,
this is a four chord in the key of G,
And to get there with a extra juicy note.
See that?
I make the, the one major 7,
I turn it into a dominant 7.
Now, it's five 7 pulling me to four.
Okay, one more time.
So, we're, I'm gonna play this a few
times, and I'm gonna create a play
along track for you to try it.
And basically it's gonna be,
the progression is gonna be
Just simply, one major 7,
one dominant 7, which is now five,
7, of four,
the dominance of the four chord.
And remember, this is something that,
we're not doing it just for
academic reasons.
It occurs in many songs.
In fact, the basic blues that we
play in jazz is just like that.
A lot of times,
instead of starting on a dominant 7.
Or even if we do, it should start
right on the dominant, dominant 7.
It actually does move to the four chord.
Here you can.
So, it's in use all the time in jazz.
So let's just play it a few times.
Grab your guitar and play along with me.
you know what?
Let's add a two, five, one after that.
Could always use a little extra practice
using two, five, one.
So one major 7.
Five, 7 of four.
One dominant 7.
Fou, resolves to four.
Two, five, one.
One more time.
One major 7.
Five, 7 of four.
I'll put together a little play along
track, and I'll play trough it for you,
and then.
I would like you to do the same and try
playing on top of that simple progression.