![]() ![]() Since this chord often contains the seventh (to definitely mark the dominant function), it ends up being denoted by II7. ![]() Take a tonality and train your ear to identify the sensation of a II7 chord. This does not alter the resources that we can use from the point of view of improvisation, as the idea would be the same as we just said. We can also consider that the II7 chord is a Borrowed Chord from the Lydian mode. Any surprises in that? No, because it is the same resource that we use for unaltered dominants, and we have already said here that the II7 chord has the feeling of a secondary dominant. What to do? You can use the melodic minor scale, which is located a fifth above it. ![]() Okay, now let’s say you’re improvising a solo in a song that contains a II7 chord. Without adding the seventh (D7), the feeling of dominant is attenuated. The sensation produced resembles a secondary dominant, since the major second degree could serve as V7/V (dominant of the dominant).įor example, in the key of C major, D is minor, so playing D major would give the feeling of preparation for the fifth degree (G). However, an interesting feature (often used) is to play the major second degree. In the major key, the second degree chord is minor. ![]()
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