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3 Secret Pentatonic Scales For

Dominant 7 Chords

NYC Jazz Guitar Masterclasses

by
Jordan Klemons

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C13b9
Our first pentatonic scale could be called the 13b9 because it incorporates and
accentuates the natural 13 and the b9 chord tones over a basic dominant 7 chord. This
makes it a perfect option to use in place of the half-whole diminished scale over a
dominant chord. All of the notes in this pentatonic scale also exist in the eight-note, half-
whole diminished scale (sometime referred to as the octatonic scale) so it creates a
similar, diminished, vibe except that it can be easier to play melodically as there are
three less note, getting rid of the clutter of juggling eight notes.

Its ideal to use when resolving to a major tonic chord (Example: C13b9 -> FMaj7). This
is due to the natural 13 of the dominant chord featured in this scale, which also acts as
the major 3rd of the tonic key (Example: the natural 13 of C13b9 is an A note - that A
note also functions as the major 3rd of the tonic key, F major). It is possible to use this
over the V7 chord in a minor key, but it doesnt yield as smooth a resolution.

This scale is built from the major triad built on the 6th of the chord. For C7, we will use
the A major triad. This gives us the 13, the b9, and the 3rd of C7. Then we will add the 5
and the b7 to create this 5-note scale.

(A - C# - E) + G - Bb

A Bb C#/Db E G

13 b7 b9 3 5

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Scale Positions and Examples

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C7(#9#5)
I call this pentatonic the 7(#9#5) because it brings out the #9 and the #5. Technically, this
scale doesnt have a natural 5, so it could be utilized as a b13 and a #9, as those two
note would be enharmonic to each other. But #9,#5 just has a better ring to it in my ear
than b13,#9. Plus, by calling it a #5 implies that we would not ever put the natural 5th in
to beef this up to a six-note scale which means that this is essentially a pentatonic
version of the altered scale (7th mode of melodic minor). If we decided to make this a
six-note scale and added the G natural, that would no longer fit inside the Db melodic
minor scale. Doesnt mean we cant do it but keeping it as the #5 and the pentatonic
version of the altered scale will just give this a nice, clean, familiar sound that should sit
really nicely in any jazz musicians ear.

Whichever way we think of it, if flows best when used over a V7 chord that resolves to a
minor i chord (Example: C7(#9#5) -> Fmin). It can be utilized to resolve to a major tonic,
but its not a smooth of a cadence.

This scale is built from the major triad built on the b6th of the chord. For C7, we will use
the Ab major triad. This gives us the #5, the root, and the #9 of C7. Then we will add the
3rd and the b7 to create this 5-note scale.

(Ab - C - Eb) + E/Fb - Bb

Ab Bb C Eb E/Fb

#5/b13 b7 R #9 3

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Scale Positions and Examples

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C13(#119)
I call this pentatonic the 13(#119) because it brings out the 13, the #11, and the 9. We
could also call this the lydian dominant pentatonic, as it sits within fourth mode of the
melodic minor scale.

Once you take a look at the scale positions charted out on the next page, you might
notice that this is simply the tritone sub of the previous pentatonic scale we just looked
at. Absolutely true. Its the exact same scale shapes but six frets away. But that said, I
strongly recommend you do not simply think of this as an Gb7(#9#5). Even though youd
be right and the theory argument could be made to defend this no problem there are
some benefits to not trying to lump these two scales and harmonies together.

This chord does not function like a tradition V7 chord. If you tried to resolve this
C13(#119) to an FMaj or Fmin chord, it would probably sound kind of choppy - maybe
even horrendous. It does however resolve down a half-step to Bmin brilliantly! I know, I
know did I just say not to view this as the tritone sub?? Not quite, I just recommend
you dont only think of it as the tritone sub. Yes, it does resolve down to Bmin just like
the Gb/F#7(#9#5) would because of their relationship, and its the same pentatonic scale.
But unlike the Gb7, this C13(#119) can also serves two other roles that its tritone
counterpart doesnt quite handle as well. It can serve as a dominant tonic (meaning you
can vamp on it and it wont create the need to resolve away), and it can also resolve UP
a whole step to a Major chord in other words, its great as a bVII7 chord! Perfect for
those I6 -> bVIII7 -> I6 vamps you see sometimes as intros and outros for latin tunes.
Its constructed from the triad built on the 2nd/9th of the chord. D triad for a C7.

(D - F# - A) + E - Bb

D E F# A Bb

9 3 #11 13 b7

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Scale Positions and Examples

2515242335256 IV232414542423 VI152423242515 X1353435252635 XII131213534413

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Dig the ideas in this book and know someone else who might too?

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Please send the link to the page below to your friends who you think would
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