How to Create Dominant Function Using Django and Wes Lines

Office HourImprovisation
Written By June
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What was the question?

A member asked for a deeper explanation of "dominant function," specifying that they wanted a list of functions beyond just the diminished chord. They also asked if these dominant functions branch off from the established Django Reinhardt and Wes Montgomery lines taught in the curriculum at [52:20].

The core idea (in plain English)

A dominant function isn't just about playing a chord that has a "7" in the symbol; it is about creating musical motion. Without motion pushing away from stagnation, the music quickly dies. The classic two-octave Django and Wes lines you practice are actually perfect vehicles for creating this dominant function, allowing you to easily map out both natural and altered tensions over secondary dominant chords [54:13].

Fretboard breakdown (what to play)

  • Natural Tensions (Wes Lines): When playing a dominant chord with the root on the sixth string, using natural (diatonic) tensions creates a distinct Mixolydian sound. This translates directly to the classic two-octave Wes line shape on the fretboard [55:52].

  • Altered Tensions (Django Lines): If you take that same sixth-string dominant chord and apply altered tensions (like a flat 9 or flat 13), the shape shifts underneath your fingers and turns into a classic Django line [57:42].

  • Fifth String Roots: The logic follows when moving to a dominant chord with the root on the fifth string. A Mixolydian approach yields a Django line, while tweaking it to altered tensions hands you a Wes line [59:32].

  • Voice Leading is Key: Whether you choose the diatonic Wes sound or the altered Django sound, the line itself is just the vehicle. Your goal is always the voice leading point—the destination note that resolves beautifully into the final target chord [59:32].

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Common mistake to avoid

Learning the lick but ignoring the destination. You can play a brilliant Django or Wes line over a dominant chord, but if the end of that line simply stays there and doesn't explicitly lead into a target note on the next chord, it makes no musical sense. You have to ride the wave all the way to the resolution [59:32].

A 10-minute practice assignment

Take a secondary dominant moving to a minor chord, such as a B7 resolving to E minor. Spend 10 minutes playing a two-octave Django line over the B7, explicitly making sure your final note lands smoothly on a chord tone of the E minor chord. Do not move on until that resolution sounds completely seamless [59:32].

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