"I disagree the 7th works as a good passing tone between b7-1. Looks like this b7-7-1. As a bass player I use that all the time. Also, a #4-5 will give you a nice blues trick, which is a popular blues chord. I'm not a fan of the natural 4th over any chord unless it's a suspension. Actually the only tones you want to be careful with over a dominant chord is the 4th, (b)9 (unless it’s a dominant (b)9th), and the #5 and 6.

Again, your terms are confused. The 7th = b7. 7 or ma7 = leading tone. #4 or -5 (b5) is more or less, what I said in a previous post. Making the ma7 in a dominant 7th setting takes quite a bit of experience.

"I'm not a fan of the natural 4th over any chord unless it's a suspension. "

I'm not sure what you meant, as a bass player. Terms are everything. A 5th under a IV (9th of IV) makes it a suspension, which is dominant, to me. I most ineveitably, will resolve to my I type or V type function, or even relative to those. Dominants, if understood, can go anywhere.

"Actually the only tones you want to be careful with over a dominant chord is the 4th, (b)9 (unless it’s a dominant (b)9th), and the #5 and 6."

I don't get this at all. Dominant chords are the last chords you need to worry about altering. They are the most conducive to altering. (the tritone exists) They are pentultimate chords. They move the music to somewhere!


[Edited by griphon2 on 07-16-2003 at 03:51 PM]