Now let's see how this same principle can be applied to a dominant chord. The chord I've chosen is an F7, and the scale I'll use on top of this is F lydian b7
. If you're not familiar with the lydian b7 scale, check out this lesson
. The notes for the F lydian b7 scale are:
where non-chord tones are in parentheses. If we look at these non-chord tones, we have G, B, and D which form a G major triad. Thus, G major is a possible upper structure triad on an F7 chord and comes from the F lydian b7 scale. These three notes are also the tensions
of the F7 chord, where the G is the 9th, the B is the #11th, and the D is the 13th. The first 4 measures in the example below feature two arpeggiated lines using the G upper structure triad. Mms. 1-2 feature all three tones, while mms. 3-4 is the same except for the rhythm. Mms. 5-8 show how this G major arpeggio would fit on the F7 chord if it was used in an F7(9)-E7(#9)-Amin7 progression, which is common in jazz.