D7 Sounds I have a huge collection of jazz licks in tablature for 5-string banjo, and thought I might share a bit of it here on the internet. I tediously transcribed them from various jazz books and my own scale studies. To start out, I'll concentrate on dominant 7 sounds in various keys. Below are "licks" in the key of d7. They are based on the lydian scale with chromatic passing tones, the altered dominant scale, the lydian dominant scale, and the diminished scale. All of these scales are used heavily in jazz when attempting to im- provise over "d7". They are by no means all the choices, but just some of the more commonly used. The scales are as follows, realized from the lowest note in the scale on the banjo neck to the highest: D7 altered dominant scale: ----------------------0--------4-----8----------13------16----------22--| -------------------1--------6-----9---------15------18------21----------| -------------1--3--------8--------------17------------------------------| -0--1--3--4-------------------------------------------------------------| ----------------------------------------------------------------20------| The most common use for this scale is over a D7#9 chord: ---3--- ---3--- ---5--- ---4--- ------- Lydian dominant scale: ----------------------0---------------------------14------17----------22--| ----------------0-----------7---------12------15------19------21----------| ----------0--1-----5-----9--------13------17------------------------------| -0--2--4------------------------------------------------------------------| -------------------------------0----------------------------------21------| The most common use for this scale is over a D7b5 chord: ---10--- ---9---- ---11--- ---12--- -------- Diminished scale: |------------------------------------------22--| |---------------4------10------16------22------| |---------2--5-----11--------------------------| |---1--4---------------------------------------| |--------------------------10------16----------| This scale is most commonly used over Ebdim, F#dim, Adim, and Cdim chords. The rule of thumb in substituting a diminished scale over a dominant chord, is that you use the diminished scale that is 1 fret higher than the root of the dominant 7 chord. In the case of D7, that would be Ebdim scale. The dim- inished scale can also be used over the b9 chord. (same rule). Diminished chord: D7b9 chord: ---10--- ---13--- ---10--- ---13--- ---11--- ---11--- ---13--- ---12--- -------- -------- The dominant sound is one of tension. It wants to move to another chord. The greater the tension, the greater the resolve. Done tastefully, you can use these scales and licks to create an "outside" sort of sound that can take some getting used to at first, but, once mastered, adds alot of soul and sophisti- cation to your playing. I suggest bluegrassers try playing them over the D7 part of "Foggy Mountain Special", by Earl Scruggs. Scruggs was ahead of his time with this tune, and can actually be called the first guy to play a swingey kind of jazz on the banjo. (Bluegrass purists hate this, but cant deny it!). I dont recommend playing this stuff over "Uncle Pen" or other pure bluegrass song - it just wont fit. You cant fit a square peg in a round hole... Jazz banjoists, however, can abuse these scales as much as they want over standards like "Scrapple from the Apple", and "All Blues". Theres a D7 part in "Take the A Train" where they'll work nicely. Basically any jazz or blues tune with D7 in it will welcome these sounds. Let your ear be your guide. If I get some positive response, theres alot of this kind of thing I can make available here thanks to Phil and his good works. So let me hear questions or comments. David Crisler dave18@ix.netcom.com THE LICKS: Chromatic Bebop phrase: ---12------10-------------------|--0------------------------------------------ ---------------12---------7-----|---------------0----------------------------- -------------------14--------9--|-----6------9-------------------------------- --------------------------------|--------10--------7-------------------------- -------11--------------0--------|--------------------------------------------- Lydian dominant (b5): |---------------0------------------|--10------9------------------------------- |--------0---------------------12--|-------------10--------------------------- |-----9----------------11--13------|------------------------------------------ |-----------10-----14--------------|------------------------------------------ |----------------------------------|------12---------------------------------- Chromatic passing tones: Q e e --9------|--12------10-------------------|--0-----------------------| -----10--|--------------12---------7-----|--------------------------| ---------|------------------14--------9--|-----6\5------------------| ---------|-------------------------------|--------------------------| ---------|------11--------------0--------|--------------------------| Chromatic passing tones: |--0-----------0-----------|-----------------1--------| |--------7--------2-----0--|--------------1-----3-----| |-----9-----9--------5-----|-----0-----2-----------5--| |--------------------------|--7-----4-----------------| |--------------------------|--------------------------| Altered dominant (#9): |-----0--------4-----7------10--|----------15--------------------------------- |-----------6-----9-----12------|--15--13------------------------------------- |--------8----------------------|------------------15------------------------- |-------------------------------|----------------------16--15--13------------- |-------------------------------|--------------13----------------------------- |---------0------------12------|--15----------------------r--|---------------- |------------------12----------|----------11--------------e--|---------------- |------------9-------------14--|--------------11--10------s--|---------------- |-----10-----------------------|----------------------13--t--|---------------- |---------------0--------------|------13---------------------|---------------- Altered dominant (#9): |---15------10------13------8-----|--10-----6-----8-----3-----|--0------------ |---------------11-------------9--|------------6-----------4--|--------6------ |---------------------------------|---------------------------|-----8--------- |---------------------------------|---------------------------|--------------- |-------13--------------10--------|------8-----------6--------|--------------- 4------10------13--|---------------------------------------------------------- ---11--------------|---------------------------------------------------------- -------------------|---------------------------------------------------------- -------------------|---------------------------------------------------------- -----------12------|---------------------------------------------------------- Altered Dominant triplets: --- 3 --- --- 3 --- --- 3 --- --- 3 --- -----16---------13------------------------------------0--- --------------------15--13-------------------------------- -------------------------------15--13--------------------- ---------------------------------------16-----14--13------ -15------15----------------------------------------------- Alt. Dom. 3rds: |-----------------0--------|--0--------------6-----7---| |-----0--------0--------4--|-----6-----7--6-----7------| |-----------5--------5-----|--------8------------------| |--6-----7-----------------|---------------------------| |--------------------------|---------------------------| b9: q |--------------------------|--0--------------0--------| |-----------1--------------|-----5--------------7-----| |--------2-----1--------2--|--------3-----2-----------| |--0--4-----------1--4-----|-----------5--------------| |--------------------------|--------------------------| Chromatic passing tone: |--0--------------------12--|------------9--------0------| |-------------5-----12------|------------------7---------| |----------5----------------|------9---------------------| |-----6/7-------------------|------------------------10--| |----------------0----------|--10-----0-----8------------| Lydian Dominant (b5): |---0-------------0-----6--|-----6------------------------| |-----------0--------------|------------------------------| |--------------5-----9-----|------------------------------| |------6/7-----------------|------------------------------| |--------------------------|--9---------------------------| Altered dominant (#9): |--------8--------11------13--| |-----6--------9------11------| |--5--------8-----------------| |-----------------------------| |-----------------------------| Diminished (one measure 16th note phrase): |--------------------------------------------------| |-----------------------------0-----------------0--| |-----1-----------------1--2-----0--2-----0--------| |--4-----3--4--1--3--4-----------------4-----7-----| |--------------------------------------------------| Flat 9: |--------3-------------11-----|------17------21------| |-----4------------12---------|--18------------------| |--6-----------14-------------|----------------------| |-----------------------------|----------------------| |-----------0--------------13-|----------19----------| Flat 9: |--11------8--------------0--|--------------------------| |------12-----9-----6--------|-----0--------------------| |----------------------9-----|--6-----3-----0-----------| |----------------------------|-----------6-----3--2--0--| |----------------0-----------|--------------------------| Flat 9 / Dim: |-----10-----7-----7--------|----------------0-----0------| |---------------9-----9--7--|------7----------------------| |---------------------------|--10-----10--8-----8---------| |---------------------------|-------------------------10--| |--9------9-----------------|-----------------------------| "Q" = quarter note "e" = eighth note