This is a sample from my soon to be released e-book, Dominant Chord Five-Note Shapes. In this etude I demonstrate a simple technique to create a unique sounding angular melodic line derived from natural and altered notes of dominant 7th chords as it flows over a ii-V turnback harmonic sequence. Take a look at the example above.

Each measure begins with the same five-note melodic shape based on the dominant chord within that measure, specifically, 3rd, 5th, 7th, #9 and #11, but arranged as follows: 3rd, #9, 5th, #11 and 7th. So in the case of the first measure, we have G# (3rd), G natural (functioning as #9), B (5th), A# (#11) and D (7th). The remaining three notes are repetitions from the previous five-note shape.

This pattern continues like this, with each five-note shape at the beginning of each measure being the same (transposed to fit the chords), but the las three notes have slight variations. The line finally connects to the tonic (F major7) and makes a wide leap until it resolves on the B natural (the #11 of the tonic). This “resolution” is made more aurally prominent because the “B” doesn’t show up for the previous two measures, finally resolving in contrast to the other notes. Though it flows smoothly through the chords of the turnback with nice voice leading, this entire sequence has a decidedly “modern” sound to it. If you’d like to explore more unique possibilities over ii-V turnbacks, please consider my ebook, ii-V7-I: 40 Creative Concepts for the Modern Improviser. Click the link below near the bottom of the page for a free, downloadable pdf of this etude:

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