Anyone here good at theory? If so please HELP!

[Brandonh]

Ok so Im looking at my walking bassline book when I turn to dominant approach page now there is something that is confusing me out of my mind

{C,D,E,F){G}(A,B,C}
{Upper } ( 5){ Low}

Theres a nice little key I made for me.

Anyway So in the book theres a peice that goes something like this...

It starts with a C
the goes to a D Upper/Dominant (It illustrates if its a Upper aproach or Low approach
then it goes to the fifth G Low/Dominant

So my question is in a few bars later it says the G is a Upper dominant?

How can I tell if it is a Upper dominant or low dominant?

Edited June 30, 2007 by Brandonh

[Alun]

I'll be honest, I've never heard of upper and lower dominants and I've studied theory for many years ( doesn't mean I'm saying they don't exist, just that it isn't common terminology).

You will however come across "secondary dominants" which might be what it's alluding to. Basically, in a major key, the dominant os the 5th note, so in C it would be G - 12345 - CDEFG. The four note chord built of this note is therefore a dominant 7 chord, in this case G7 - GBDF. In "proper" theory this is the only scale degree that creates a dominant 7.

Dominant 7 chords are traditionally thought of as "unresolved" and sound like they want to move to a chord a fourth above ( or fifth below). If you play a G7 and then a C major, you hear what if referred to as a "perfect cadence" - the perfect resolution of a dominant chord ( G7) moving to a major chord a fourth above/fifth below (C major).

A secondary dominant exists where you build a dominant 7 chord on another scale degree which then resolves up a fourth/down a fifth, For instance in C, you may have a D7 moving to a G, an E7 moving to Am, or maybe an A7 moving to Dm or D7. These secondary chords contain notes that aren't part of the scale but the natural reolution of dominant chords add a pleasant tension and release which is very common in jazz music. For examples, try some of the following common jazz progressions -

C - E7* - Am
C - D7* - G7 - C
C - C7* - F
C - A7 *- D7* - G7
E7* - A7* - D7* - G7

In each case the *chord is a secondary dominant.

I'm wondering if the upper and lower are maybe directions as to which octave to play the notes in? So you'd go up to the D and then drop to the G below the C?

Hope that helps.
Cheers,
Alun

[Davemarks]

Upper and lower dominants are terms I've ne familiarity with. Like Alun - I'm not saying they don't exist, but they aren't commonly used terms.

What, pray tell is the book you are working from?

Dave

[Brandonh]

Maybe I didint understand what your trying to say but what I dont get is how does the G change to a lower dominant to ahigh dominant ? when it pretty much sits in the middle

[Brandonh]

Nevermind must have been tired last night on second look the other note is upper becuase what came before it.

[Brandonh]

thanks dlloyd that really covers it thanks