This is a public version of the members-only Jazz Improv Guitar with Chuck Loeb, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Jazz Improv Guitar with Chuck Loeb.
Join Now

30 Day Challenge
«Prev of Next»

Jazz Guitar Lessons: V7/V

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials Quizzes
information below Close
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Written Materials +




Additional Materials +
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Jazz Guitar

This video lesson is available only to members of
Jazz Improv Guitar with Chuck Loeb.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Jazz Improv Guitar with Chuck Loeb. This is only a preview of what you get when you take Jazz Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
Okay we're gonna do something now
that's a little bit like I don't know
if you've ever been somewhere where
there's a mirror behind you and
a mirror in front of you and
you see yourself and
your image goes on forever where,
it's kinda like a repeat an infinite loop.
This is gonna sound a little
bit like this, and it's, so
it's got a tricky, a tricky name, but
it's really simpler than it sounds.
We're gonna talk about five,
seven of five.
Wait a second.
Wait, five, seven, five is already a five,
seven, so why are we having a five?
Well, it is, in fact something
that happens a lot in normal
jazz progressions chord progressions so
it's something that we have to talk about.
So what we're talking about is
that the dominant seventh chord
of the key's natural
dominant seventh chord.
Again, sound a little confusing, but
it really comes in quite a bit into play.
As I was talking about five, seventh,
two, I mentioned Satin Doll,
it actually occurs right in that song.
First of all, let's talk about what it is.
So let's go over the scale again.
The scale in, in seventh chords.
One major seven,
two minor seven, three minor seven,
four major seven.
There's the five chord, five seven,
five dominant seven, six minor seven,
seven minor seven flat five, and
one, I say all that very fast, but
the important here is,
the dominant seven,
cause we're looking at five seven of
that chord, the dominant of that chord.
So now let me just talk about
Satin Doll a little bit.
This is a real world example of where
it exists, so let's do it in G.
It's normally in C, but let's do it in G.
Okay, now we're in the key
of G as I mentioned.
What's that A seven doing there?
Now as I explained here,
that E seven was functioning as the five
seven of two,
pulling you to the two chord.
And when we arrive at the two in Satin
Doll, it's not a two minor seven chord.
It's like, hey, wait a second,
that's supposed to be a minor seven,
that's the two chord.
Not, it's an A seven.
And then
so, we'll get into how it ends up,
how the end of the song comes, and
resolves later because that's another
little technique we wanna talk about,
but it goes to five seven of five.
It goes to a chord that's pulling
us towards the five chord.
It's a juicy chord, it, it adds another
element of going a little bit out
of the key, which gives us
that chromatic feeling that,
that jazz improvisation and
jazz harmony is noted for, right?
Because now, what was the two chord
is now a dominant chord.
It's an A seven instead
of an A minor seven.
So it's got one extra note in it that's
not what is normally in that chord,
and so it's outside of the key of G.
What note is it?
Well, first let's find
out how we count up to
the the five seven of five,
the dominant of five.
Okay, so we know that
the five chord in the key of G is
D, right?
One, two, three, four,
five chord the dominant, right?
And it's already dominant seven, and
we're gonna borrow it's dominant chord.
We're gonna go to the, as though we were
in the key of D, and we're gonna borrow
the dominant chord in that key, so
again have to count up to five.
D, E, F sharp, G, A, A, A, which is,
like I said, the two chord in, in G.
So the dominant seven of D is A seven,
So, we're in G we go to the five chord.
And count up five and we get the dominant
seven chord of, of that, and it's A seven.
So A seven, D seven, G.
You hear that?
Five, seven of five,
five seven of one, one.
It's a nice pulling, it's got that
magnet that I'm talking about.
That tritone wants to go here.
And this tritone wants to go there,
it wants to resolve.
Any questions about this, please send in
your questions and I'll try to make it
as clear as I can but that,
that's what we're talking about here.
And now I'll play through
this progression.
And try to put it,
you know, play it slowly.
If you're car, have your guitar,
play along with me, okay?
So what I'm gonna do is
I'm gonna go one, six, and instead of two,
five, one, I'm gonna go five se,
five, seven of five.
Five, seven, one, okay?
I'm using a six, nine there at the end to
make it nice, you know, pretty resolution.
Let's do that one more time.
And again.
Play along with me one more time.
One major seventh.
Six minor seven.
Five seven of five.
The dominant seven of the five chord.
Five, five, seven of one
and back home.
So, I have a little play along of this,
You watch me play through it and
then please play through it,
make a loop out of it play over the, and
get really familiar with this progression.