from Chapter 32 of An Approach To Jazz Piano Dominant scales can either reflect the tonality of the key center or can imply a direction away from it. The direction away from a tonal center using the dominant scale/chord as the medium, can be either towards the flat direction, or towards the sharp direction. A combination using elements of both directions may be used to modify one direction or the other. In Figure 1 the cycle of sharps and flats is presented to help illustrate direction ideas. Figure 1 If G7/mixolydian is the most inside dominant 7th chord/scale in C, G altered dominant has the most notes out of the key of C that a G7 can have while still retaining a dominant 7th quality (see Figure 2). Figure 2 Before outlining directional intent in secondary dominants, it is necessary to discuss the primary dominant (G7 in C major) in order to establish a working order of dominant scales. This working order of dominant scales will include those that are more inside
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From Chapter 11 of An Approach To Jazz Piano . This video is a demo of some ideas for applying "rock triad progressions" to the well known standard "My Romance." You might remember this idea, but have a look at this previous post to review of the so called (Rock Progressions—really like darker colour shifts): Rock/Blues Triad Progressions This next video is a take on this, applied to My Romance. Get a lead sheet of My Romance and follow along... For an in-depth introduction to rock/blues triads, see Chapter 11 of An Approach To Jazz Piano .