7#5#9 NR = maj7♭5 on M3 (D♭7#5#9 NR = Fmaj7♭5) ), Alternate names: 7(#11), 7+11 Equivalent chord: equals a 13♭5#9 on the ♭5, G13♭5#9 = D♭13♭5#9 (symmetrical chord) However, the ♭9 resolution is the weakest, e.g. Don’t mess with a beautiful major 7 chord. Chord tendency: resolves to the M3, P4, ♭7, and M7, G13#9 > B, C, F, and F# – seems like the relative minors work too. 11♭9 = dom7 + P4 + m2, e.g. 13#11 NR = n/a, E13#11 NR = E13#11 NR This and my last article on the all the C Major Scale Chords is heavy lifting for the head. G7♭9 = G-B-D-F-A♭. For example, if you play the G7#5 from the G altered dominant chord diagrams, all you need to do is move the whole shape up two frets and it turns into A7#5. In this article we will be looking at altered dominant chords. There are many different ways of notating altered chords, but you may see them written out as C7#5, C7+, C7aug, C7b9, C7#5b9, etc. Due to the coronavirus, I have lost 80% or more of my income. A lot of the color in jazz comes from the sounds of the various altered dominant chords. 13♭9 N5 = 7#9#11 NR on ♭5 (E13♭9 N5 = B♭7#9#11 NR) Despite the strange name, ‘altered dominant’ chord are some of the tastiest chords you can use in your music. Chord tendency: resolves best to ♭3, 4, 6, weakly to M7 but also to 5 and #5. 7♭5♭9 NR = 7 on ♭5, (A7♭5♭9 NR = E♭7) G7#11 > G#/Abm, C, D, F# and to A, E♭ and F. I didn’t check those chords as minors or try their relative minors. The altered scale contains all four of the common altered notes (b9-#9-b5-b13), which are used to create tension over the underlying chord when applying this scale to a soloing situation. Alternate names: 7(♭13) Altered chords make fantastic chord substitutes for regular dominant 7th chords. Technically, a dominant 7th chord is the 7th chord build on the 5th scale degree (dominant) of the... Chord extensions. G13#11 > A♭ is a little off. Altered chords are thus constructed using the following notes, some of which may be omitted: For example C7#5 contains C-E-G#-Bb. Minor: m7#11, a horrible sounding chord (IMO) built on the 4th mode of the harmonic minor scale, Diminished: m7♭5, m9♭5, m11♭5, m-maj7♭5 (All great), Augmented: maj7#5 and maybe maj9#5 (=’s 7♭13 on M3) and maj13#5 (=’s m9-maj7 on M6), Lydian adds: add#11, add9/#11, 6 add9/#11 (all good). On dropping the 5th, you do not omit the 5th if it is a 7♭5 or 7#5, otherwise, what’s the point. Scale(s): 7th scale degree melodic minor, all odd scale degrees of the Half-Whole diminished scale, Alternate names: 7(♭5, ♭13), 7♭5(♭13), 7#5#11 Equivalent chord: equals 7♭5#9 on the ♭5, G13♭5 = D♭7♭5#9 But it seems like it can come to rest on a major triad for every other chromatic note including G! Here are the resulting chords if you drop the root notes on the chords above. It’s the tritone(s) that will point to how/where to resolve all that dissonance. Chord tendency: Literally to every key. In jazz, the term altered chord, notated as an alt chord (e.g. Chord tendency: Same as for 9#11 – try them for yourself. They all are either build on different triad/chord types or have major 7th intervals. Alright, now we are getting into some truly nasty and crunchy chords. I play arpeggios, either the base dom7 chord or the whole chord. Scale(s): all odd scale degrees of the Half-Whole diminished scale, 4th scale degree melodic minor. Scale(s): all odd scale degrees of the Half-Whole diminished scale, Alternate names: 13+9, 13(#9), 7(13, #9) Also, I was not able to find any closed chords for it, so I have an open chord as an example. Equivalent chord: equals 7♭5♭13 on the M3 and 9♭5 on the ♭7, G9#5 = B7♭5♭13 = F9♭5 I’m not about to learn every mode of every scale for these types of chords. 7#11 NR = n/a, G7#11 NR = G7#11 NR Scale(s): 4th scale degree melodic minor, each degree of the whole tone scale, Alternate names: 13(♭5) Extended Chords: Double Extended G7 Guitar Chords. Chord tendency: same as 7♭9 but E and A♭ work as well Alternate names: 7(♭9) 2. Save my name, email, and website in this browser for the next time I comment. 7♭13 NR = 13♭5 N3 on the ♭7 (E7♭13 NR = D13♭5 N3) Question 2: How many types of altered chords? Your choice for altered extensions, for a chord with a perfect 5th, are: You can use any of them in combinations except for the ♭9 and #9, although I have open and closed voicings for the 7♭9/#9 chord. G7♭9 > A, C, E♭, F# (E♭m & F#m sound better), but Em and A♭m also sound like resolutions. Here is what I would do – as little as possible! Everyone knows what a 7 or dom7 chord is, but if you add the major 2nd, perfect 4th or major 6th you get what is known as extended 7ths: Dominant 9 = 7 (chord) + M2 = 1-3-5-♭7-9 Sometimes I use music interval terms (M2, P4, etc.) The melody comes first though. Question 4: How to play over altered chords? Scale(s): 4th & 7th scale degrees melodic minor, each degree of the whole tone scale, all odd scale degrees of the Half-Whole diminished scale, Alternate names: 9(♭5), 7♭5(9) To change things up, add color and variety, provide some unique licks, …. 7♭9#11 NR = 7♭9 on #11, (C7♭9#11 = F#7♭9) 1. 13#9 NR = n/a, G13#9 NR = G13#9 NR Chord tendency: Strongest to ♭9 min, 4, 5, M7, but also to 9, ♭6 and ♭7, e.g. Chord tendency: same as 7♭5 but also to every chromatic major chord except the M3 and m6, so no B or E♭ for G. There are many different ways of notating altered chords, but you may see them written out as C7#5, C7+, … These chords rarely last more than one measure. I could list other chords I like and dislike, but just try them all and pick a handful that sounds good to you. Here is a brief list of chords which you will never see and you will not want to use: 11#9: three chromatic notes in a row (#9, M3, 11). Scale(s): each degree of the whole tone scale, 13♭5♭9 = G7♭5 + M6 + m2, G13♭5♭9 = G-B-D♭-F-E-A♭, Alternate names: 13(♭5, ♭9) G13♭9 = G-B-D-F-E-A♭ (=’s an E7♭9/#9), Alternate names: 13-9, 13(♭9), 7(13,♭9), 7(13,-9) Use them as a substitute for a regular dom7 (V7 or V\V). That’s quite a chord! Chord tendency: same as a V7 chord but also to the ♭3, G7#9 > C, Cm, or Cm-maj7 and B♭ Question 3: How to resolve altered chords? Equivalent chord: equals a 7#11 on the ♭5, G7♭5♭9 = D♭7#11 Chord tendency: same as 9♭5♭13 The 7#9#11 is one of the nastiest chords there is! Equivalent chord: maj9#5 on the ♭13, G7♭13 = E♭maj9#5 Scale(s): 4th scale degree melodic minor, all odd scale degrees of the Half-Whole diminished scale. When making your own voicings, it is important to pick and choose what tones you use in order to create a chord with the sound you desire. Do not confuse these chords with 7alts or altered dominant 7th chords. Sharp 11’s are fine though. If you build dominant 7th chords from other scales than the ones I used then maybe there are more, but I think I got them all. Scale(s): all odd scale degrees of the Half-Whole diminished scale, The 7#11 chord is a nasty chord, also described as “crunchy” – they hurt!. Equivalent chord: equals 7♭5♭13 on the ♭5, and 9#5 on the 9, G9♭5 = D♭7♭5♭13 = A9#5 Chord tendency: G7#5♭9 resolves best to C, weak to F# but also to A♭, B♭, D, and E (♭9, ♭3, 4, 5, 6) Regardless, all the altered seventh chords have some combination of an altered 9th and/or 11th and/or 5th and/or 13th.
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