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Shaun Bart.. nretches
four soloinq techniqrrs the

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riting: [ode]aia
A thoLr!h a tered domiiant
sca e! can be dif{cLr I io rse at
fir{ the examples i. this roro
are phyed al a moderaie tenrpo
and are nra ghttor!4ard enolgh
for mosl ntermedi:ie guitar

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meet ,our 3t lutor: I I I
shaun Da[e]
I n
Shaun s pr nc pa rock
lnstrLrctor and a founder member
I
ofthe Guitar lrsthute rn London
After the release of his hiqhly
accalmed debut alburn .lo2z Merol ! I \
t
Shaun was voted runner up as Ben
New Guitari$ in TotalGuitar's
annual read€6 pol ard promptly
incLuded in the 6uitor6tEool of ]IDIUERSIFY YOUR SOLOLING
Gritor P/otr6 which approprialely
descrlbcs his style es "a uriqLre
berd of b€bop and hea$/ metall the hot-blooded latino
lfyou would likc some more
information abo!t Shaun or woLrld
ik€ a copy of h s Jozz Meroia bum It's time to take soloing a step further by looking at lvays of playing
then rnd a sAE (o Shaun Ba)&r
c/o The Guitar lnstitute,Ihe Power over altered dominant chords
House,74 Sianley Gardens, Acton,

he prcvious few series of articles in this tlE domhanl dord

column have bcen devoted to soloing
over'static' sounds such as minor.
dofiinant and nlajor. Here. the term
'static refers to the settled nature oI
these pal1icular sounds (rhat s why you
.\ can vamp'on Thcn: becausc rhey dont sounal
:'.. like they are B'oing aDywherc. Consequcntly, you
' catr alro firi\h l tu c willr i rninur. ,najor iJr
,lomirranr cllordl. Holrevrr. rherc 'J Jn mpot .rrl
sound thaL wr've lelt out: altered doni ant. Tl s
is thc sound that is responsible lor tension !\,ithin
progressions [esp ccially j a zz) and is described as
heving a 'passing' tonality - because it is used as
a means of passing or modulating from one chord
to anoiher-
If you takc the harmonised chord sequence
within the key of C. (Cmaj7 (l), Dm7 (ll), Em7 (lII),
FnajT {lv), G7 (V). Am7 {VIl and Bn775 (Vll)),
yoLlll find that all of the chords want to resolve
back to the CnlajT {l) chord to varying degrees.
The gravirational pull on $e G7 (V) chod ro ihe
Cmaj (ll chord is greatcst of all, hence the llame
'domillanl chord.
A dominant chord consists of a root, third,
fifth and flat seventh and, as you can see, there is
only one within a major key. It stems fiom the
fifth note of the key and is thercfo( commonLy
refered to as the V chord. Compositionally,
this chord is very impofiant because of its
haImonic function.

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 This chord s strong need to resolvc makcs it
ilnpofia[t componellL when con]posing; aftcr
you've playcd all the chords you lvanl when
writing a tune alld decided it's Linle to go back lo
the 'home' chord {Il, thc V chord is the strongest
way of gettirg there.
Thls month's LaLin.jazz solo is playcd ovcr a
progressiol] that doesjust Lhis. ]t Llses some ofthc
afoie eaLjoned chords llom thr key of C arid
then uses Lhe C7 as a 'Turnaround' chord at the
cnd of the sequercc,
CnrajT 0 /// FmajT 114/ II Dnl ll) I I I G7 lU) I I
allenlionr
0..1. ru.. ."r- .1.r \^l.n' lr.\ rhuli..\e
nccd ro look at ways in which rhis chord is
frequerltlli ahcrcd. The V/l rroveneni embodics
the principle oI lension/rcso]ution aDd. !!hen a V
chord is followed l)y its I chord iG7 to C ajT) v\e
can hcighren the :iuormt of lension on thc V
chord (C7l by placing chrolnatic nlterations
agaiisi it. lly incrcasirg the tension ljke this wc,
i
iD tu r, crease thc scnse ofrelief lor the listener
when eventually arriving homc at the more seLlled
sounding I chord.
eslablhhing teNiotts
G Mixolydiar is thr fifth nrode in rhe key of C
aud effectively this gives us the rores of the key
of C seen konl rhc perspective ol'lhe G7 chord,
not the C chord.
Gtulxoydiaf -G A B C D
12 3 4 5
It is a domi!nrL scalc Nirh no alterations (1hir
is. :rpafi trom thc conrplllsorl tlat scveillh. tbere
arr no sL.rf.ncd or llartel]ed inien'a]sl. Iicre l m
goiDq Lo sprll olri rhc scnlc wllh all llte spacts
fillcd il1 (thr rorr\ sllo\,\rn in blacktt:).
G (4) A {&) BC iD,) D (DFI D
1 i;2) 2 Uz:t 3 4 1,5) s lts) 6
Thls rrlls Lrs:ll rhc possiblt Lertsi{)lts/
al.cratiol15 that carr ]le placcd againsr rlre {G7)
chod. \Vc caD't add t|e nntural scvcntir (F, as lt
\\,ould (hrrrgc rhc G7 chord fiorll l)cing a
donlillanr (hord lo a major 7 Lype. Consequcnth,.
our only optior\;ric to flatterl and shirrl)en lhc
second arld 1jfLl] lrrrenals. Bclbrc we stan i(lding
rlles. r.irsions to the (lroftl, ir's r"_otth notirg ilrnl
rlLe ,2 and i2 nolcs ,,"-rll usualll. bc rcfirrtd Lo i1s
,9 an{l ,9 rcspccrively. Thjs r! l)ecaLrsc drese
pafiiclrlar rroles usua]ly apLrear jrl the secolld
ocravc {it you dLrr-t un(lcrsrand this, all \'ou nccd
ro llrou,is rhat 2 :9. ,l = 1l end 6 = 1l).
\rvllen r..f idd dresr nrr,- roies ro oul'odgirlal
G7 (hoid \,! e g.r chords like G7)9, G7i9, G7,5,
Gi'r5 erc. Tlrrorericall]. you can lrave tll rhc
possibk alternrions prcscnt in thr cltord at rllc
sanle rinle (thar i.r C715f5,9i9l but this cL0rrl ir
usLlallv abLre!ialed ro GTalt lbr obvious reasotls.
Listen to rbe dillererrct bc
cen usi11g a
srrrighr G7 alld a G7,9 jr l)erNecn thc Dm7 ar1(l
Cr :ri7 chords i11 the progrrssion.
an allered dominanl r(ales
No\,v that \\,e ve altered our donlirant chord. we
Iargon bIsle]
nccd a scalc ihar r"_ill hclp us [egotlate it. Bv Iar
rhc most colllmoD \!a) to negotiate dlis type ol
cllor(l is to use sllpcrlocrian [a]so knolvn as the
altered scrlel
A The harmonised chord
s€qu€nce of ary s.ale s d€r !ed
by si:ckirg a series of diaton c
G sLrperociaf - G ,{, Bi C D! E, F thirds on top of each note. To
1t2 i2 3 ,5 ,5 1,7 do ihis, you start wrth th€ fi,st
noie of ihe scal€, miss the i.rr
add the nexi, miss the rert add
This scale col]tairN everything that we need to
the next etc until you get a
say that it is dominant (1,3 and t7) and it also
three or fo!r note chord. Then
I has alt thc possible alteratioN (1,2, i2, ,5 and 5). start with the secord rote of
Ho\a/ever, this isn't the only altered dorrinant the scale and repeat the process.
scale: the t\,yo most comll1only used altematives Once you have dore this frofr
are the half/ ,holc scale {also known as every not€ of the scale you
should end up with a set chord
symmetdcal donlinant diminishedl and Phrygian
sequence that s comPosed
dominant scale. Don t u,ony nbouL the big names, enlirely of notes from the sca e
jLlst undcrsrand that they are domilant scales
\ rhich contain valious alterarions; they each give I RE[4EltlBER terms
us a pal1icular flavour \ 4len ncgotiating an
:rltered doniinani chord like C7,9 explained on page 92
G ha f/who e scale - G Al Bt B Ci D E F
1t2)23[5561,7
G Phryliar dom iant G A, B C D BF
1,2 34 5 ,6
'7
the solo
ln this monLh s solo. I used C nlajor scale
throughout but hnve used G halfJrvhole scale o11
rhc G7 chord each tiDe. I ve includcd a full
E anscription ol vrhat I played rs 1\ell as ncck
6 l/ di:rgra|rs lbr thc half/u,ho1e scale.
Alrv chromatic (or nor]-sca1e] notrs Llsed over
the Cr1aj7. FnajT and Dfi7 chords il1 tbe solo witl
always bc acting as Tassing tones tha1 lead a
senrirolie tiom onc chord or'scak note to anothcr.
k.,t, pr.rl
""r'ol ther. lrcr. rr,,.n.rtt-'t
the so1o. For exar ple. thc Cf note iD bar 2l can
be seen as e chronratic ncighbour torle to the root
F (F, of thc Dm7 chord or as a notc of D melodic iror
1,7 17) h{hich,,vas hor/ I perceived it whcn I played it).
Dmeodcminor D E F G A C Ct
12 t34 5 6 7
Ilemcnlbcr, don t just play sonerhing without
undersrandillg it tirst rhinkl
ahoi(e
Phil didn r use an alLered vclsion of the G7 chord
lrr,r 'cp.i,-.,1 tl,l.r.l.i rs f.,.1, lrl.or "
siraight. but this didn't prevenr me fiom being
able io suggesr thcsc altemdom in lhe scalc. So.
as a soloist. Lhe choice is -vours. lfthe
accompanist plays i1 C7,5, -\rolr can play a 15 in
vour lcad linc.
I'nr going ro bc looking ar lhe v:lriotLs altcled
domiranl saales thar I vc mentioned and their
vaiLrLrs irpplicrrions in much mole deplll in rhe
hrrure so. until lhe , jrLsl siart gctting acquainLed
uith the solrDd ol earch scalc o\rcr the G7 chord irl
this nronth s proSr'essio11.
NexT month Iook out tbr a ue!1, series.levorcd
to the rro(les ol llle rnclodic minor scale. 9t
l> november 1999 guilel tectrrl€
latin ialz altered dominant chords
diversify your soloino

D
gt inlo sound adui(e
suggested listening shaun's st(d Eeai
For.orr Latln nyejaTz tr! nenin,q 10 bo5r nola 0oneer For thir monihs ro o,I used Ph ls p nk PRS on the basr plck up.
Char e 8yrd, e5pecialy tire ncred b y pop! ar stLrfi [e did o ti] This then deni tlrrolqh a Ma6hal IMP I which wa5 on the
riophon n Stan Getz 1k," D:siflnaiiol 'c ean 2' channe w ih the bass sh ft ln The pre amp was on th€

vol gain bass , O treb pres

14203"456

O = Boot note (G)

POHPO

G7(13) Cmai9

guitai technlqres november 1999

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G7(13)

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novimber I999 g:|n tcclri|.ttGr 77