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GUITAR THEORY: Dominant Substitution with Minor 7(b5) Search Andrew for FREE lesson Handouts. This Video: March 04, 2011 | Search Videos by Title/Date. GO TO: Andrew Wasson of Creative Guitar Studio answers a viewers question... Q: My arrogant jerk of a music teacher (who's always making one-off statements about theory, that he hardly ever explains) said during a theory class this week, that the Dominant 7th and the Minor 7(b5) are closely related through the color of the Dominant 9th. When I asked him what he meant and how this is so, he just said that it's all diatonic and then he went on to something else. But, I still do not understand what he is saying. Could you maybe cover this in a video? Thanks for your YouTube lessons -- they're great! - James, North Carolina A: The Dominant 7th and the Minor 7(b5) chords and arpeggios are indeed related through the extension of a 9th. What your teacher was getting at, was that they are loosely related through a concept called Diatonic Substitution. This works because we can replace a Dominant 7th chord in a song with a Minor 7(b5) built from the third of the original Dominant 7th chord. The end result would be a Dominant 9th chord. The complete lesson article for this video will be available on the Creative Guitar Studio website shortly. Follow me on Twitter for lesson posting announcements: ____________________________________ The NEW Zazzle Products page: ____________________________________ Andrew's Official Q & A Guitar Blog Website: (the weekly Podcast is posted here) Andrew's "Video GuitarBlog" YouTube Channel: The Creative Guitar Studio Website: Follow Andrew on Blogspot: Follow on Twitter for new lesson announcements: MySpace: Facebook: _____________________________________
Length: 07:47


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