Dominant Chords on Bass: Funky, Gritty, and Groove-Friendly
When you think about dominant 7th chords, you probably immediately go to the blues… E7, A7 and B7 are the quintessential chords found in your basic 12 bar in the key of E. We typically play one-bar patterns that can be moved across the chord progression and guitar players really bring out the harmony by playing the full chord. But, if we stay on this dominant chord for an extended period of time, we can create grooves that open up a world of pocket-driven creativity that goes way beyond just playing roots and patterns.
Used right, dominant chords on bass let you lean into the harmony, play with dissonance, and push the groove forward. Whether you’re outlining the chord with single notes or playing double stops (two notes at once), these shapes allow you to get creative with syncopation, dead notes, and other funk bass techniques.
Let’s break down what dominant chords are, how to play them on bass, and how to turn them into tools for grit, color, and feel. Our ultimate goal is to evoke the stank face!
How Is The Dominant Chord Used In Music?
If you’ve ever played through a blues or funk tune and felt the harmony pull you forward, chances are you were hearing dominant 7th chords at work. They’re gritty, tense, and begging for resolution.
In traditional diatonic harmony, the dominant resolves to the tonic. The dominant chord is built on the 5th scale degree of our key and resolves to the tonic chord built on the 1. This sense of “dominant to tonic resolution” is a key component of traditional music theory. We can play over the 5 chord and make a transition to the 1 to complete the resolution.
In blues harmony, all of the chords—the 1, 4 and 5—may be played as dominant chords. This is why we can usually use the same bass line or pattern and simply move them to the roots of each chord in the progression. Get started with the blues by working on some simple shuffle patterns.
In funk harmony, we often stay in one place for an extended period of time. This allows us to develop more complex grooves and really lean into creating a deep pocket.
This gives us freedom to build grooves over 1, 2, or even 4 bars. We can really explore the tension that exists in the dominant chord that never really resolves to another chord.
Dominant Chord Harmony Hits Different on Bass
To build a dominant chord, play a major triad and add a minor (or flatted) seventh. There are quite a few ways to do this on the bass fretboard since we have multiple shapes for triads.
Building the dominant chord: Root, Major 3rd, Fifth, Minor 7th
G7 = G (root), B (major 3rd), D (5th), F (flat or minor 7th)
What makes it special is the tension between the 3rd and the 7th—the interval created between the two notes is a tritone. This tritone is a bit dissonant sounding and has a natural pull or need to resolve.
On bass, you don’t need all four notes when playing a chord. In fact, playing them all at once is both hard to do and muddy sounding. Two or three carefully chosen tones—usually the root, 3rd, and 7th—can carry the sound and feel of the chord.
These intervals cut through the mix and clearly outline the dominant quality, while still leaving space for the band—and the groove—to breathe.
While the 5th is important for arpeggiating the chord, it is the same in both major and minor chords. It doesn’t specifically define the dominant harmony and is usually left out so that it doesn’t muddy up the sound of the chord.
How to Play Dominant 7 Chords on Bass
There are a few core voicings that work well in different settings. Here's how to build them using just the essential chord tones.
Dominant Shape 1: Root + 7th + 10th
Root on E string
Major 10th on G string—this is the major 3rd played an octave higher
Minor 7th on D string, one fret lower/one string lower than the 10th
This shape opens up due to the space between the voices. It gives the line a floating quality—great for solo bass or when playing in a stripped-down group.
Fingering tip: Use your index finger for the root, ring finger for the 7th, and pinky finger for the 10th.
Dominant Shape 2: Root + 3rd + 7th
Root on A string
Major 3rd on D string
Minor 7th on G string
This shape outlines the entire flavor of the chord and works beautifully in blues and funk settings. It’s compact, gritty, and groove-friendly.
Fingering tip: Use your middle finger for the root, index finger for the 3rd, and ring finger for the 7th. It should make the shape of a triangle.
Funk and Blues: Where Dominant Chords Come to Life
Dominant chords are everywhere in funk and blues, thanks to a few famous bass players and artists who define the genre.
In Funk Music:
James Brown tunes frequently stay on a dominant chord or a ninth chord (the dominant with the addition of scale degree two or “nine”) for an extended period of time. The groove is often punctuated by horn stabs and allows for vocal repetition and lengthy solo sections.
The Meters grooves are often mellower and minimalist. George Porter Jr. frequently uses a “box” shape that favors the root, fifth, 7th, and octave. This allows him to play over either a dominant 7th chord OR a minor 7th chord since the 3rd is omitted.
Vulfpeck, featuring Joe Dart on bass, offers a modern take on funk music. It’s more technically challenging and requires greater syncopation and dexterity.
In the Blues:
The blues is built on dominant chords where the I, IV, and V in a 12-bar blues are all dominant 7ths. This is the key difference between other songs that use a I, IV, V.
The 3 Kings of the Blues (B.B. King, Albert King, and Freddie King) all have songs that feature funky bass lines that highlight the chord tones.
Bass players like Duck Dunn (Albert King, Stax, and The Blues Brothers), Johnny B. Gayden (Albert Collins), and Jerry Jemmott (Freddie King, Aretha Franklin) find creative ways to play over these chords.
While most blues shuffles outline the chord with the root, 3rd, 5th, and major 6th, most funky blues tunes integrate the tension of the dominant 7th.
Tips for Playing Over Dominant Chords In Funk and Blues
Believe it or not, bass players don’t always have to play all the notes of the chord. We must be aware of the chord and learn how to spell it out, but that doesn’t necessarily mean that we’re locked into only playing chord tones. Creating a bass groove means that we make choices. Here are some tips for what we can do besides just playing chord tones:
Use rhythmic syncopation and chromatic motion when moving between the 3rd and 5th of the chord. That means that you can move 3-4-#4-5 and don’t be afraid to throw in some dead notes!
Emphasize walking up to the major 3rd of the dominant chord. Try playing 2-#2-3 to add a bit of tension. Fun fact: this can be moved an octave higher to play 9-#9-10. This can be heard all over blues, soul, and funk records of the 1960s and 70s.
Practice Tips: Getting Dominant Chords Into Your Playing
Here are a few ways to get these shapes and sounds under your fingers:
1. Cycle Through 12-Bar Blues Progressions
If you want to understand dominant chords in context, the 12-bar blues is the perfect training ground. Each chord is dominant, so you’ll get plenty of reps moving between voicings while holding down the form. Use dominant shapes to outline I–IV–V (ex: A7, D7, E7). Focus on:
Moving between shapes cleanly
Locking in with a drummer or metronome
Sliding into the 3rd or 7th for flavor
2. Create A Groove With Double Stops
Dominant chords aren’t just for outlining changes—they can be the groove. Pick one dominant chord (like G7) and explore it as the foundation of a one-chord vamp. Focus on rhythmic phrasing and space. Try this:
Play the root on beat one and think about the rest of the space you have in the bar.
Add in the other notes of a dominant chord by playing the 3rd and 7th together as a two-note chord, otherwise known as a double stop.
Practice playing that chord on an upbeat or at a syncopated moment. This will create instant funk.
3. Strip It Down
In stripped-back settings like bass and voice or bass and guitar, dominant chords can carry more harmonic weight than root notes alone. When there’s no keyboard or rhythm section to fill in the gaps, your voicing choices really matter. Use dominant chords to:
Support the harmony
Add motion and tension without stepping on the lead
Create space while still sounding full
4. Build a One-Chord Groove
One of the most fun and useful ways to explore dominant chords is by creating a groove and allowing it to evolve over time. Think of it like a blank canvas: a dominant shape gives you all the flavor you need to build something compelling
Start with A7 and write a short vamp or line using one of the intervals from the dominant chord (such as the 7th). Create tension and motion using:
Syncopated phrasing
Intervals in the lower and higher registers
Repetition and space to build the pocket
Fills to mark the form and set up 4-bar phrases
This is especially useful for funk and jam band contexts, where the groove evolves but the harmony stays in place.
Dominant Chord Masters: Bassists Who Turned Tension Into Groove
If you want to hear how dominant chords bring tension, color, and groove to life, listen to the players who’ve mastered the feel. These bassists use dominant shapes not just for harmony—but as a way to lead the band, build energy, and create unforgettable lines.
1. Bootsy Collins
Bootsy built entire grooves around dominant riffs. His lines often land on a strong root and includes movement across the octave. Dead notes, chromatic motion, and rhythmic syncopation are the name of the game.
Listen to: “Super Bad” by James Brown
2. Rocco Prestia (Tower of Power)
His lines in funk and soul contexts often use tight dominant-based figures. Listen for how he uses the 3rd and 7th to lock the groove and imply the harmony.
Listen to: "What Is Hip?" by Tower of Power
3. Willie Dixon
In traditional blues, Dixon used dominant chords to shape progressions and drive the feel. His lines are simple but harmonically rich, emphasizing roots and 7ths.
Listen to: “The Seventh Son” by Willie Dixon
4. Bernard Edwards
In Chic and beyond, Edwards often framed disco-funk lines with dominant chord shapes. One of his most famous lines, “Good Times” moves between an Em7 and A7 chord. This uses the dorian mode and specifically outlines the chord tones of the A7 chord.
Listen to: "Good Times" by Chic – One of his most famous lines, “Good Times” moves between an Em7 and A7 chord. This uses the dorian mode and specifically outlines the chord tones of the A7 chord.
5. Joe Dart
Joe Dart’s playing with Vulfpeck is a masterclass in how to make compelling bass lines with dominant chord tones and brilliant articulation. He often crafts ear-wormy grooves over one-chord vamps, includes a bit of call and response in his phrasing, and adds slides, dead notes, and vibrato.
Listen to: "Lost My Treble Long Ago" by Vulfpeck – Dart outlines the D7 tonality without ever sounding boxed in. His use of dominant chord tones adds bounce, space, and syncopated energy that lifts the whole band. The groove modulates up to E7 and he plays the same part a whole step higher.
Final Thoughts: Dominant Chords Belong in Every Bassist’s Bag
Dominant chords aren’t just for guitar and keyboard players. On bass, they bring out funk, grit, and harmonic clarity without crowding the arrangement. Whether you’re backing a vocalist, holding down a shuffle, or filling out a trio, dominant shapes let you say more with fewer notes.
Want to dig deeper into how and when to use these shapes? I offer online bass lessons where we can work on this together—building your chord vocabulary, strengthening your feel, and making your lines more intentional and musical.
FAQ: Understanding Dominant Chords on Bass
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It’s a major triad (the root, major 3rd and 5th) plus a minor 7th. If you’re playing it as a chord, feel free to omit the 5th and just use the root, 3rd, and 7th to keep it clean and groove-friendly.
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Major 7 chords use a major 7th (one half-step below the root). It is typically written as GMaj7. Dominant 7 chords use a minor 7th (whole step below), creating more tension. It is typically written as just G7.
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No. Just the root, 3rd, and 7th are enough to capture the essence the chord. The 5th is often left out.
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There are two good shapes for dominant chords on bass. If your root is on the E string, play the 7th on the D string and the higher 3rd or 10th on the G string. If your root is on the A string, play the 3rd on the D string and the 7th on the G string.
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It’s the tension between the 3rd and 7th that gives dominant chords their unique character. The interval created is a tritone, which is traditionally considered dissonant sounding. Over time, our ears have learned to enjoy the sound of this dissonance and now, we often refer to that as bluesy or funky.
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Absolutely. Funk thrives on dominant voicings. You can create a funk bass line by using chord tones, adding rhythmic syncopation, and playing with register.
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Blues progressions are built on dominant chords. Bassists create blues bass lines by walking through the chord tones and adding movement to imply the changes.
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Not always. Use them when they serve the feel or style. They shine in funk, blues, and stripped-down settings. Many grooves take advantage of a minor 7th chord, so be aware of when the harmony leans major/dominant or minor.
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Yes. Sliding into the 7th or 3rd is a great way to add expression and articulation. Playing with articulation and the way you attack notes is the secret to making a truly funky groove.