In addition to the melody, arpeggios (linear spellings of the chords) can also serve as a rich source of practice material. The simple 12-bar blues progression of “C Jam Blues” is a good starting point for learning dominant seventh apreggios.
In the byte-sized guide to musicianship, I recommended writing out and practicing arpeggios up to the ninth degree. In the opening graphic, you can see the C7 arpeggio including the root (C/R), major third (E/3), perfect fifth (G/5), minor seventh (Bb/b7), and major ninth (D/9) – which is the same as a major second.
The F7 arpeggio uses the same intervals, but built on an F (F-A-C-Eb-G):
The G7 arpeggio also uses the same intervals, but with different notes (G-B-D-F-A):
In the PDF exercises (written for treble clef, bass clef, Bb transposition, and Eb transposition), you’ll find arpeggios for all three chords (adjust the octaves as needed). You can use these chord tones to compose basslines (here, using half-note roots and major thirds) and comping voicings (here, whole-note major thirds and minor sevenths). Note that horns can adapt the comping voicings into backgrounds by playing one line at a time.
That’s it for the first week of Nanoversity of Jazz! Stay tuned next week for more instructional materials and information about supporting this site through Patreon.