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.
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
maybe even there's a 3rd in the bottom
now what's more common is the +11
with the sound, this sound
it's a very jazz sound.
which they call the Lydian
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