scott henderson

Happy New Year! Here is something to tickle your 2008 ‘lick bone’ with!

In the second instalment of this outside dominant extravaganza, we will look at the other 2 pentatonics you can throw over an, ‘adult entertainment domestic appliance malfunction movie plot excuse’ type groove!

We know we can play 4 blues pentatonics based on the Rt, 2nd, 5th and 7th of the dom7th chord and that the blues scales based on the Rt and 2nd have a Mixolydian b5 and Lydian b7 (or Lydian Dominant or Jazz Lydian) sound to them respectively.

In Part One of our epic trawl through the career of Australian virtuoso rock fusion guitarist Brett Garsed, we looked at his early years and his breakthrough touring and recording with John Farnham. Now Brett takes us through his American years which all started due to Brett scoring the gig with Ricky Nelsons son's melodic rock band par excellence Nelson.

Now that you know all the Blues (Hexatonic), diatonic modes and melodic minor scales, we can now look at how to use them over a dominant or 7th chord. This lesson is in 2 parts because of there is a great deal you can do with a dominant chord and there’s a great deal of theory surrounding it. Dominant chords appear in 2 main varieties, Static and Functional. A dominant chord normally resolves to its 1 chord. This is because the whatsit of the 7th becomes the doo dah of the 1 chord and vice versa. Simple!