This is a public version of the members-only Jazz Bass with John Patitucci, 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 Bass with John Patitucci.
Join Now

Beginner Upright Bass
Intermediate Upright Bass
Advanced Upright Bass
Music Theory
Beginner Electric Bass
Intermediate Electric Bass
Advanced Electric Bass
30 Day Challenge
«Prev of Next»

Jazz Bass Lessons: Ear Training: Dominant 7th Chord Sounds

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

+Beginner Upright Bass

+Intermediate Upright Bass

+Advanced Upright Bass

+Beginner Electric Bass

+Intermediate Electric Bass

+Advanced Electric Bass

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

This video lesson is available only to members of
Jazz Bass with John Patitucci.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Jazz Bass with John Patitucci. This is only a preview of what you get when you take Jazz Bass 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.
Now lets deal with the dominant
7th with the simplest alterations.
Dominant 7th through memory,
it's the root, the 3rd, the 5th and
the flat 7 of the scale.
Okay, so
so if we sing that sound.
Sometimes the voicing
is more like
Sometimes there's a 9th added.
you sing through it.
Then, sometimes there's a natural 9th,
that's the 9th and the 11th
that's the natural 11th, I should say.
And we'll get into all
the sus sounds later on.
It's kind of a sus chord, they call it.
It comes from an old term,
when they referred to classical theorists,
suspended note which lot of times,
the 4th degree was called the suspended
4th sort of resolve to the 3rd.
But in Jazz music,
a lot of times we just sit on that.
We're not gonna resolve it.
So that's we call a sus chord.
But that's really dominant
functions like I would call it in
this case
maybe even there's a 3rd in the bottom
maybe not.
So anyway,
now what's more common is the +11
with the sound, this sound
it's a very jazz sound.
That sound
which they call the Lydian
dominant sound.
Okay, remember before we talked
about those modes again.
Here we are on a C7 and Lydian dominant.
So it's like a C with a raised 4,
which is the F sharp, and a flat 7.
The dominant part comes from the flat 7,
the Lydian part comes from the sharp 4.
So now we have a Lydian dominant, or
in this case we're talking
about a C7 with 9 and +11.
I put the 13 on there too.
You often hear it together.
Here it is without the 13
you'll hear that in David Zee's music too.
So you'll have to learn how
to sing through the scale.
The scale is Aeolian dominant 1,
2, 3, sharp 4, 5, 6, flat 7, root.
[SOUND] Okay, and the arpeggio.
[SOUND] Okay, so that's your sound there.
For your basic 9ths with the 11,
the 9, the sharp 11,
so those are your basic sounds for
the dominants.