dominant seventh studies / diatonic proof

The following ideas simply examine the various scales associated with creating melodic ideas over dominant harmony.

All of the pitches are diatonic to C major, note that there is no tritone pitch or tritone interval in relation to the pitches of C major.

The non diatonic pitch Bb is the blue 7th in relation to C major.

Adding the tritone to the minor pentatonic color to create the minor blues scale.

All of the pitches are diatonic to C major.

Common substitution for Mixolydian, simply raises the 4th by half step adding a bit of the whole tone color.

Based on the relative minor to C major, in a pentatonic, five note configuration.

All of the pitches are diatonic to C major. Building the Aeolian mode on the 6th degree of the major scale is also termed the relative or natural minor scale.

All of the pitches are diatonic to C major, note that the pitch B is the leading tone to C major.

All of the pitches are diatonic to C major, using the pitch C to create the essential 4 - 3 harmonic suspension in bar 34.

All of the pitches are diatonic to C major.

All of the pitches are diatonic to C major, here we use the root of the mode in the soprano voice of the dominant chord creating the G 13th chord.

All of the pitches are diatonic to C major. Using the Lydian mode over dominant harmony is a cool jazz approach.

Altering the mode to include a blue 7th, which adds a bit of whole tone color to the dominant chord.

Using the half diminished Two chord to V 7 + 5 sets up the motion to the minor tonality. Perhaps a welcome relief after all this joyous, major tonality?

Well, there we must be able to create something out of all these pitches. Coolness of the chromatic color to blur the tonal direction.

What's next? On to the diminished studies perhaps?

The art of being wise is the art of knowing what to overlook. William James