Tag Archives: minor 7th chords

Piano Scales: The Dorian Mode

Piano-ScalesOf the many piano scales that you will want to familiarize yourself with is the Dorian mode. Let’s take a look at this special scale, which you will find yourself using frequently while improvising on piano.

First, to easily understand the construction of the Dorian mode, we will begin by taking a look at the major scale. Specifically, we will spell out the C Major scale here:

C  D  E  F  G  A  B  C

What scale do we arrive at if we start this C Major scale on the second degree which, in this case, is D… and if we end the scale with D as well?

Here it is:

D  E  F  G  A  B  C  D

Wahlah! There we have the Dorian mode. Specifically, we have D Dorian mode.

The Dorian scale (or mode) is a minor scale. As we look at the 1, 3, 5, and 7 of this scale, we have:

D  F  A  C

Yes, the Dmin7 chord!

Play a Dmin7 chord with your left hand while playing the D Dorian scale with your right and listen closely. Do you hear how well this scale sounds when played with this chord?

This is one of those piano scales you will want to learn in the other keys, too. To do this, play any major scale that you are familiar with and then start that scale on the 2nd degree of that scale and play up to the same pitch name as we did above. So, as another example, if you start with the G Major scale:

G  A  B  C  D  E  F#  G

and then start this scale on the A and end on A, we arrive at:

A  B  C  D  E  F#  G  A

Yes! That’s the A Dorian scale!

We mentioned that this scale is also referred to as a “mode” and we are going to get into further explanation of modes and we’ll also be looking at more of them. However, now that we know this scale sounds so good with the min7 chord, have some fun with playing some patterns. using it.

For example, play an Amin7 chord with your left hand and, with your right hand, play a pattern starting on the first note (A) like this:

A  B  C,  B  C  D,  C  D  E… and continue. Listen to this!

Okay, now go find a favorite standard song that you are learning to improvise on and, when you have a minor 7 chord, consider improvising an idea over that chord. In other words, use what you are learning. It is in the  where the “gold” exists!







Jazz Piano Chords: Minor 9th Chord Voicing

Jazz-Piano-ChordsAny discussion of jazz piano chords much acknowledge this popular chord voicing among the pros. It’s a stock voicing that you’ve got to know. It’s another one of what we call rootless voicings. Many times when a min7 chord is called for, this is one that is used…

Let’s play a Dmin7 chord in its basic root position, which is spelled out like this:

D  F  A  C

Now, if we related this chord to a corresponding scale, we see that the 1, 3, 5, and 7 comprise this chord:

D  E  F  G  A  B  C  D  E  etc.
1  2  3   4  5   6   7  8  9  …

We have stretched a little beyond an octave to illustrate that, if we continue building in thirds beyond that 7 of the chord, the 9 is next in line. Well, lets add that to our original Dmin7 chord:

D  F  A  C  E

This results in a Dmin9 chord. To a jazz or cocktail pianist this is one of those jazz piano chords that is often played when the 7th chord is asked for. So, the music doesn’t have to call for a 9th in order to play it. It is often automatically considered for extra color.

Well, if we take away that root of the chord, what we have left is:

F  A  C  E

So, we have the 3-5-7-9 chord voicing. Again, this is a rootless voicing. So, does that mean the root never gets played? Well, not exactly. If you are playing with a bass player, he or she will be playing that root. If you are playing solo piano, you can certainly play that root in the bass area before or after playing the voicing for added fullness. Perhaps the root in the bass area can be played on beat one and the voicing above can be played on beat 2 (or vice versa). Maybe each is played for 2 beats, which works nicely for ballads.

In addition, if you are playing as an accompanist for a singer or other instrumentalist, you might play that root in the bass area with the left hand while playing the voicing with the right.

This min9 voicing is one that you will want to learn in all the keys so that you can play it anytime on command. It’s a good idea to practice voicings around the circle of fifths. You can also play them chromatically up and down, raising each chord tone up or down a half step as you change keys, which makes it easier to find them.

As you play toward mastery over this popular voicing, remember…