23 Scales You Can Play Over Dominant 7th Chords (guitar scales demonstration)

[@soundguitar]

🎸Get my FREE Printable Parent Scales Pack PDF → bit.ly/3hfGTUx. These are the parent scales that most of the modes from this video comes from, such as major, melodic minor, harmonic minor etc...

[@larrybooth4802]

Couldn't believe scales could be that interesting and exciting. Thanks.

[@soundguitar]

Thanks for watching, Larry! Glad you liked it :)

[@ZekeZaita]

Simply amazing ! No wrong notes depending upon how you use them .

[@soundguitar]

So true!! Thanks for watching :)

[@jacklatou8145]

Precious lesson, Jared! Congratulations for the excellent work!

[@soundguitar]

Thank you kindly!

[@BuzzworthyBand]

Need more of this over each scale tone!

[@jackiedixon5076]

The best teacher. Thanks again.

[@soundguitar]

Aw shucks ☺

[@seanwholey6190]

So much fun to watch! You're the best! I look forward to trying some of these!

[@soundguitar]

Right on, Sean! Glad you liked it. Thanks for watching :)

[@BlackonBlack-]

Nice improv at the end of the video 👍

[@wordytoed9887]

I LOVED this! Mark-Baxterian in the use of text and minimal verbal cues. That said, I love when you talk through things. But, sometimes independent text on the screen can do the trick just as well, if not better sometimes. You nailed this Jared. I love seeing the names of scales I play - So good to PinPoint exactly what is going on when I am playing!

[@soundguitar]

Thanks for watching! Haha, you're maybe the first person who said that you like when I talk through things - which I appreciate! I get a lot of comments saying that I talk too much, haha. I find that funny because it's just a part of teaching and I do play a lot of examples in most of my videos. So I thought it would be fun to post this no-talking video for all those people :)

[@wordytoed9887]

​@@soundguitar Certainly, captain! I find everything you talk about to be meaningful. Don't let the haters bring you down! That said, I do love the mix-up! Variety is the spice of life, or so I hear, anyway. As the aforementioned Mark Baxter does it, it can be really useful a sort of video to practice to, because a rhythm arises and the listener can feel comfortable leaning into that predictable pattern. You have done this before, too. For instance, in your finger-permutations lesson - I followed that one a number of times and have since internalized it. In large part due to how you laid-out the pattern and then just played along to it in one long go. That exercise is literally the first one I always begin with, and it's because you explained how practical it is and then you simply executed how practical it is. I send that video in particular (with the fkn awesomely hilarious thumbnail btw) to all my guitar and bass playing friends because it is simultaneously so accessible *and* infinitely useful! Rock on, JB!

[@soundguitar]

@@wordytoed9887 Thanks so much for sharing the video! and thanks for your enthusiasm and support :) I'll do my best to not let the haters get me down. Cheers! -Jared

[@wordytoed9887]

@@soundguitar You have got it my friend. Cheers from Michigan 👍

[@MC-mi4ck]

I like that dominant pentatonic #22.

[@soundguitar]

Nice! I like that one too. Very 60s, Beatles, psychedelic kind of :)

[@neildavidvandenbergh5422]

This is incredible stuff! 🙌 Very clear and concise too. Thanks man! 😄😎

[@dandilion62]

You are such an inspiration!!!!!

[@soundguitar]

YOU ARE! :)

[@mattkanter1729]

Fantastic! Thank you!!

[@NevoAlmighty]

I think it's one of my favorite videos in this channel. Thank you Jared!! Quick question - When you play each of the scales, are you more depending on your fretboard memory (for example - "this string on that fret is C#, which is the b6 [just a random example]) or it's more about remembering the scale shapes (like whole tone scale, which visually looks very unique and perhaps easier to remember because of it)? The above is just a general question for me to better understand what's the best way to have these scales ingrained in my brain for my usual improv attempts

[@soundguitar]

Thanks, glad you liked this one! :) Great question, for me personally the answer is equally both. I see the whole shape as a helpful structure and I am also aware of the scale degree or chord tone numbers. I am not, however, thinking of note/letter names at all other than the roots. Hope that helps! Cheers, thanks for asking, and thanks for watching.

[@TheKottonheads]

Very cool! Thanks Jared.....🎸

[@soundguitar]

You're welcome, thank YOU :)

[@Edunvalvojat]

👍😎👍 I’m gonna try some of those.

[@soundguitar]

Please do!

[@jonasreed-xx9qg]

Very informative thanks! will you have a .pdf of these scales available for download? That would help a lot!

[@soundguitar]

I do have a free PDF download of the parent scales of many of these scales/modes here: Printable Parent Scales Pack PDF → bit.ly/3hfGTUx

[@Chris-w4j]

4 more Mix pent 1235b7 Hungarian major 1#23#456b7 (lyd dom #9) Brazillian 1b23#456b7 (lyd dom b9) Tritone scale 1b23#45b7

[@soundguitar]

ooh, nice, thanks! :)

[@Chris-w4j]

@@soundguitar There's more like Lyd dom b6 123#45b6b7 It's a mode of Neapolitan major (AKA Melodic minor b2) All of the modes can be played over dominant or Altered chords. Locrian dominant is another good one For Altered b5 1b234b5b6b7

[@mason87104]

Loved the jam at the end Jared! Question: I would have thought the the dominant pentatonic would be 1,2,3,5,b7 rather than 1,3,4,5,b7, but that scale sounds good too. I have heard 1,2,3,5,b7 called the dark major pentatonic and 1,b3,4,5,6 called the bright minor pentatonic.

[@soundguitar]

OH NO, that could have been #24! haha, you're totally right. I'm sure they go by various names - those names you mentioned are cool! Haven't heard them - and I'd call 1,2,3,5,b7 Dominant Pentatonic as well... Shoot, I missed including that one. Thanks for bringing it up!!

[@HeadbangoO]

ooh that was nice!

[@soundguitar]

Thanks! :)

[@chuckwheat]

A question on "modes." If you're playing a song in A major and you've got 2 bars of the E7 chord. You're not really in "E mixolydian mode" you're just in the key of A with a temporary gravity around E, right? Otherwise every chord change to the ii, iii, and IV for example you'd have to be thinking "B dorian, C# phrygian, D lydian" instead of just "I'm in A major and the chord is currently a C#m." This is a question I had regarding your modes video, and your usage of "Mixolydian mode" made me think of the question again. I guess what I'm getting at is I'd think of your usage here and in the cases above as being more mixolydian *scale*, whereas mixolydian *mode* would be to describe the key/mode that Michael Jackson's Don't Stop Til You Get Enough is in-where the entire song is in B Mixolydian. Thanks for the video and I wish you continued success with your channel!

[@soundguitar]

You're totally right on that a measure of E7 doesn't mean E mixolydian, it just means the V7 chord of A. Some people do indeed think of the whole scale/mode structure chord by chord even when they go by quickly, and whether or not they'd call it a mode or not is just semantics at that point. Others think strictly in the parent scale regardless of the chords, and most people approach it somewhere in-between. As for calling it "mixolydian mode" vs "mixolydian scale", I've never heard of that distinction making a difference but it makes sense that being particular about one of those labels vs the other could serve as a useful way to indicate the function of the scale structure one is talking about. To me saying either of those means the same thing. I've also heard people say "the key of mixolydian". My usage here never leaves A7 as the harmony, so one could say it's mixoydian mode in the way you're describing it. Anyway, you're spot on with all of that and you obviously understand it really well - the conclusion is that there isn't a concrete, universally agreed upon perfect language for using modes in popular music and however one thinks of it or uses the terms for themself in a way that makes sense to them and is helpful for them is all good in my opinion. Those are my thoughts. Thanks for asking!

[@treborwax]

Bravo merci

[@soundguitar]

Cheers! thanks

[@ancient_living]

Jared is a University in himself !!

[@johnmccullough8705]

IF U Superimposed C# Lydian…C# D# F G G# A# C….Over A7…ITs Like ROOTLESS ALTERED…IT Contains the TRITONE of A7…C#-G…Play OFF The Notes or IntervaLs…To Go Back “INSIDE”…Over A7 Go Back Inside With E DORiAN (D Major=A Mixolydian)…KOOL VIDEO

[@markgoodwin5306]

Phrygian Dominant would be appropriate for a Dominant 7 in a minor blues right?

[@soundguitar]

Absolutely! :)

[@markgoodwin5306]

@@soundguitar I need to work on that one more, it's a weird one for me for some reason. I'm alright with the altered and b9 arpeggios. I think it's the half steps between 1,2|3,4|5,6. I know it's spelled, 1 b2 3 4 5 b6 b7 but something throws me off haha. It'll click

[@soundguitar]

@@markgoodwin5306 It'll click! I had trouble with it too, but once it got there it was SO nice to have it handy for those V chords in minor keys :)

[@josdurkstraful]

You say "Pentatonic of the '4' " but then you play e minor pentatonic..... which is the 5..... do I miss something?

[@robinrivest1945]

I had the same question and was looking through the comments to see if someone else had already brought it up. I guess it's just a typo (should have been labeled off the '5'). But the minor pentatonic off the '4' also sounds interesting with the b6 ! ( 1 b3 4 b6 b7) .. Thanks Jared for this interesting demonstration :)

[@pinorobymotta6380]

Grazie

[@soundguitar]

Cheers!

[@centsmith6121]

a thousand scales in just 1 shape