Altered chords are a special category of chords that - as the name implies - alter other chords. On the right hand is a quartal triad: …built off the ♭ 7 degree of C major scale. Diatonic Chords II Extensions and Modifications, If a dominant 7th chord comes with the ending, The tension tones may be exactly written in the chord symbol, e.g. Specific applications: A. stream The #11 Chord Another common altered dominant chord is one that has a raised 11th. For example, the second chord of A Girl From Ipanema (G7(#11)) resolves to Gmin7. & "Wave" B. A lot of the color in jazz comes from the sounds of the various altered dominant chords. G. Often tensions are not written at all in the chord symbol. Even mixed forms like G7(b9,13) are possible. Key of C family (G7alt)? This definition allows three to five options, including the original: Altering the chord can make it more colorful or it can even heighten this tension more and make the resolution to I increasingly welcome. If the dominant 7th chord resolves to a chord whose root is a 5th lower (a 4th higher), you can (sometimes even have to) use altered tensions. ��M�+"�P̒�0I��#\+.�g��9s 5�n�i �����Xm|ΖiP��b�YU�"m�=���5Elσ��� Does the V7 chord not resolve from V to I by a 5th, you can add a #11 and/or the natural tensions 9 an 13 to the dominant chord. In jazz you often come across altered dominant 7th chords, which are not a stack of diatonic 3rds in so you need to approach them differently. The experienced musician will decide by himself to play a G7 as a straight G7 or with a 9 or 13 or as a G7alt, according to the stile of music, melody and the whole chord progression. So, the theory for the altered scale is 1, b9, 3rd, #9, #11, b13, and b7. If you use a fourth, you will omit the third. The result is a sus4 chord. & Descending F7alt ? �@���B\�q�a�Rx�aB^���'�e�,����N2,�o����r��G�k3��NmOJ4�I����hulC�L�2-�gR����Nppl"Ⓦ���椀>Ip�|`�m^�C�ڠp�B#7��`��c��H��Q�+/l�v�ć)o�k�tj���W��Hx��P�ɮN���⮥�b�c?����z��t��r���b��a[��l�b�zw�j����P/�b����-�O�H���E�5L�kJ������yO&,б���mfzq�����M��i��/�����vWn. diatonic triad or seventh chord that has had one or more pitches lowered or raised by a half step & "Wave" B. Common Alterations of V: V+7; V7b5; Vm; Vm7b5; #Vº7; V with an Altered 9th V7b9; V7#9; Altering Each Chord Tone. Even mixed forms like G 7(b9,13) are possible. An altered dominant chord is, "a dominant triad of a 7th chord that contains a raised or lowered fifth and sometimes a lowered 3rd." Altered Dominant Chord Approaches (V-I) F7alt.....? This lesson will present numerous voicings for altered dominant chords.. What makes a dominant chord altered is when the 5th or 9th degree of the chord are raised or lowered by one half step. Key of C family (G7alt)? x�[�n�}��h�@�����'yH�N�� o��8")�v�]Zc����ɩ����.5\.aX��鮮�Ꞟ_�w����k�?�����]UY�ܦ?lm�q*�ڜߘ���iUVUm��f��(�tUkڡ.�7��zm�5�w�_f����9m��#~j�z{b��{�/�}��Y�tf����Yݜ��Z��91�Y��Gh�!��h���_s��� In a 2-5-1 in minor you even must use altered tensions. In a 2-5-1 progression in major you can equip the V7 chord with natural tensions as well as altered tensions. Key of F family (C7alt) ∑? Altered Dominant Chord Approaches (V-I) F7alt.....? & ∑ bœbœœœbw bbœœbœœœœ bnœœnbww œœ bœ nbœœ bœ œœ œbœœœ ww bw œœ œ b n bœœ bœ œœ nbœ œœ nœ bbww nwœ œ bbœœbœœ œ œ bw nw œbœbœœww w b b œœbœbœwbœœnœœbœœbbœœnwwœœ b If the dominant 7th chord resolves to a chord whose root is a 5th lower (a 4th higher), you can (sometimes even have to) use altered tensions. %��������� Voicing #2 – Tenth and Tertian Triad . Altered chords. you can see thet the #11 has kind of an exceptional position and also (or rather) occurs when not in general altered tensions are used. In Stella By There are, for example, altered dominant seventh chords with a flattened or a sharp fifth: 7-5 and 7+5. Altered dominants and diatonic arpeggios. This means that it comprises the three irreducibly essential tones that define a dominant seventh chord, which are root, major third, and minor seventh and that all other chord tones have been altered. 4 0 obj C7+5 D7+5 E7+5 F7+5 G7+5 A7+5 B7+5. These Altered Dominant Chord Voicings Will Revolutionize Your Playing Voicing #1 – Tenth and Quartal triad . %PDF-1.3 Altered Chords. - X>���GH���z���8�[�H3��cm�{ȕ�~/��š�;��6��(vq�'B5���)�u�~�����x[P�����[��J�[[��AV�q��ìPÃ�fH�p��iM@�C�(LB(���@B�p�@�Vձ(M��O/��2��m]��tSE?7�Gi���r� 2R�W����|���$$�"w&��"�1X椦�h�,0,a��f����LqA�@��@���I�`�d� ��*@�nxSʷ�'�I(�I���(Y��B�L�sx L���nP YN��GX+�p� ��b���a�t�b��"\)���B�p�u���>�U���)^9� is a platform for academics to share research papers. & Descending F7alt ? Let’s take a C7altered Usually we play the altered scale on a chord like that, so the same notes as C# melodic minor. In this article we will be looking at altered dominant chords. Specific applications: A. Mentally practice the altered scale – Think slowly through every dominant chord using the altered scale by substituting the 9th for the b9 and #9, and raising the 11th as you did with diminished. In jazz, the altered scale or altered dominant scale is a seven-note scale that is a dominant scale where all non-essential tones have been altered.