Magical rainbow ponies

How do YOU approach V7 of V in minor key?

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  1. arewolfe
    Member

    There's no "correct," or "one-size-fits-all" answer, and of course it will depend on what mode of minor the cadence resolves to. This post is just an open question to Kurt and all forum members. I feel like I am definitely missing something when it comes to this chord, so I'd like to hear your ideas on how you approach or solo over the following chord:

    V7 of V in minor key (for example, bar 7 of Summertime, or bar 9 of the solo section of Spain [C#7 going to F#7])

    What chord scale(s) do you like to use over this chord when it resolves to V7 and then moves to I minor?
    Do you have a specific approach to soloing over it?

    In Spain on C#7, I usually use notes from a 7b5 chord, or the scale I assembled from the notes in the melody + the notes of the chord:
    1, b9, #9, 3, b5, 13, b7

    I know ultimately it is our ears that must decide what sounds best. But there are so many possible approaches (because there are so many different "minors" (natural, melodic, Dorian, harmonic, Phrygian, etc.]), so I wanted to inquire here on the forum to hear your ideas.

    I still have trouble settling on a scale for this chord, even when I approach it logically by working backwards from the target chord to see what the diatonic chord scale is within the framework of a dominant chord. In major key it seems to work out much more simply and always sounds "right" to my ears. For example: To get the chord scale for V7 of VI in C major, I simply take the notes of an E Phrygian scale and combine them with the four notes of an E7 chord:
    1, b9, [or #9], 3, 4, 5, b13, b7.

    That scale sounds "right" when I play it over an E7 chord that moves to A-7 in the key of C. But when it comes to V7 of V in minor, I really haven't "discovered" anything that sounds good to me.

    (I'm fully aware that this post makes clear my severe affliction with "jazz guitaritis" i.e. intellectually overanalyzing things that can be figured out simply by using intuition).

    Secret
  2. jorgemg1984
    Member

    A lot of the times that chord is substituted on minor keys with a bVI7 - the most common progression is Ab7 G7 to Cm. The most common scale on the Ab7 is the lydian dominant which implies D7 (V7 of V) would be altered.

    The original chord would be Dm7b5 locrian, IIm7b5 of a minor key. The altered scale is the closest to the locrian it's just turning the 4 into a b4 (3). If course there's much more to improvisation that chord scales... Cm blues scale is also a nice sound over the II7.


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