Chromatically Descending Dominants
In this lesson we introduce a chromatically descending dominant chord sequence in bars 7 and 8 of the 12 bar blues progression. This approach creates a smooth and distinctive harmonic shift, moving in the opposite direction of the diatonic walk-up covered in the previous lesson.
By the end of this lesson, you’ll have a solid understanding of how to incorporate chromatic dominant chords to create rich tension and resolution in your blues playing.
Chromatic Dominant Reharmonisation
In the 12-bar blues progression, the 7th and 8th bars are a prime spot to introduce interesting reharmonisations. While we previously explored moving upward through diatonic chords (C major, D minor, E minor, etc.), this time we take a chromatic approach with descending dominant 7th chords:
We start with a C major chord and then descend chromatically: C to B7, to Bb7, and finally to A7. Dominant 7th chords create a strong sense of resolution a half step down which is the ‘glue’ that holds this progression together. The final chord A7 is the V of D-7 in bar 9.
Blues Scale Licks and Material
We then explore how to integrate blues scale licks into the chromatically descending dominant sequence. The E minor blues scale can be used effectively over the B7 chord as it shares common chord tones such as the root and the b7. B7 also has a natural tendency to resolve to E minor, making licks from the E minor blues scale a perfect fit to create melodic embellishment:
We also incorporate C minor blues scale licks when playing over the Bb7 chord. The C minor blues scale shares many common tones with Bb7 (root, 9th, 4th, 5th, #5th, and 13th) which makes it well suited for melodic embellishment:
The combination of blues scale licks and chromatically descending dominants creates an interesting harmonic sequence combined with funky blues melodic embellishment.
Related Lessons
Upper structure triads are complex altered dominant chord voicings that are widely used in solo jazz piano performance.
This type of passing chord is a dominant chord built a half step up. Dominant chords always have a strong pull to resolve a half step down.
Tritone Substitution is a useful reharmonisation technique that can be used to add harmonic interest and variety to a chord progression.
Practice Tips
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Alternate between the diatonic walk-up and the chromatic walk-down. These progressions can be used to add variety to repeating choruses.
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Experiment with the E minor blues scale over the B7 chord, and the C minor blues scale over the Bb7 chord to add melodic interest to the progression.
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Remember that the descending dominant sequence can be played with 2-handed voicings and without melodic embellishment to provide 'breathing space' inside the 12 bar blues form.
