Pedal Tone With Melody

This is a good exercise for keeping a "pedal tone" note in the bass while playing a melody at the same time.
Start by barring at the 12th fret from the A string. Keeping the bar down for the entire exercise creates a temporary capo that shifts up and down. Let the notes ring out and overlap in the high strings. Keeping the bar down solidly will help with this.

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C Major 7 Arpeggio

This Arpeggio is good because it covers almost all of the neck. Start on the C on the A string with the 1st finger, and quickly slide up to 7th fret with your 3rd finger. This puts your first finger in position to play the E on the D string.

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The 7#5 Chord

C7#5 would be spelled.. C E G# Bb
and would resolve to a F or B chord.

The 7#5 chord gives you a stronger sense of drama and urgency than a
plain dom7 chord. The chord still resolves down the same as a dom7:
down by a P5 or half step (tritone sub)

In the dom7 to I chord progression (ex. G7 to Cmaj) the b7 resolves
down a half step to the third of the I chord. In the 7#5, the #5 resolves
UP a half step to the third. (ex G7#5 to Cmaj - the note D# resolves up a half step
to E. So you have another chromatic approach to the third of the I chord.

Remember once you sharp the "5" (fifth scale degree), you can no longer
play the regular fifth scale degree or it will clash. It is no longer "legal"
in the traditional sense.

Dominant 7th Chords

The dom7 chord is a major triad with an added flat 7th
scale degree. For example, the notes for a
C7 chord are C E G Bb. Notice that the note B is flat
where as normally in the key of C major you would
have a B natural note. This means that you are really playing
in the tonality of the key of F maj. or C mixolydian


This chord tends to resolve to a major or minor chord a fifth below
or a tritone up.


Adding the b7 creates a stronger
gravitational pull than just using a straight
major triad. Try playing a G maj to C maj,
and then G7 to C maj, notice that the 7th (the note F)
resolves to the 3rd of the C maj chord (the note E)


The tension in the dom 7th chord is created by the tritone
between the third and 7th which resolve to the root and 3rd
of the I chord in contrary motion. For example, the B and F notes
in a G7 chord resolve to the C and E of C maj.