3 Altered Dominant 251 Lines
In this short masterclass we look at 3 different altered dominant lines over a basic 251 cadence.
To keep things simple, we are going to stay in the key of Bb, using F7alt to Bbmaj7 as our cadence. We will then demonstrate each line using the first 8 bars of There Will Never Be Another You.
In these examples we show how you can use basic melodic building blocks such as chord tones, triads and chromaticism to create your own melodies over altered dominant chords.
Lesson Downloads
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3 Altered Dominant 251 Lines Lesson Notation File Type: pdf
Related Lessons
In this lesson we continue to explore the triad improvisation principle over the major 251 progression and the major 2516 progression.
In this 5 minute masterclass we will look at how a pair of triads can define any mode and become a strong sound for improvising and comping.
The altered contains every possible altered chord tone and is a great scale choice to improvise over altered dominant chords.
Practice Tips
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When playing altered dominant lines it is helpful to be able to think of the altered scale as a melodic minor scale a half step up - for example F altered has the same notes as F# melodic minor. This can simplify the process of improvising and coming up with new lines.
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The two triads referred to by Tuomo are very helpful. Try practicing these in all 12 keys so that you can quickly recall which triad pair applies to which altered dominant chord.
- When creating your own lines try to keep things simple - the basic ideas here will go a long way in creating interesting lines.
Nice lines thanks tuomo 🙂
This is very useful, thank you for your clear explanations. 🙂