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Secondary Dominants and Inside to Outside Scale Choices

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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