Members patd Posted January 15, 2004 Members Share Posted January 15, 2004 Can anyone confirm me that this is the correct formula for a 7alt chord??1-3-b5-b7 Link to comment Share on other sites More sharing options...
Poparad Posted January 15, 2004 Share Posted January 15, 2004 Yes, that is one way of spelling a dom7alt chord. An altered dominant refers to a dominant 7th chord with either a #5, b5, #9, or b9, or any combination thereof. So you could have: R 3 b5 b7 b9 R 3 #5 b7 b9 R 3 b5 #5 b7 b9 #9 etc... any combination of those four alterations to the 5th and 9th. Perhaps a better way of looking at it is a shell voicing (R 3 b7) plus whatever altered 5th or 9th you want to use. Link to comment Share on other sites More sharing options...
Members patd Posted January 16, 2004 Author Members Share Posted January 16, 2004 Thanks Poparad Link to comment Share on other sites More sharing options...
Members simeon Posted January 16, 2004 Members Share Posted January 16, 2004 i wouldn't play a chord that has a b9 and a #9 or a b5 and a #5 in it (unless it's a request!) you don't usually find both in the same chord apart from the root, third and flat seventh, you can have any one of the following... #5b5#9b9#5 #9#5 b9b5 #9b5 b9 cheers sim Link to comment Share on other sites More sharing options...
Poparad Posted January 16, 2004 Share Posted January 16, 2004 I personally play a lot of voicings with both types of 9ths or both kinds of 5ths. To my jazz influenced ears, altered chords imply the altered scale (melodic minor, seventh mode). That particular scale has both 9ths and 5th in it, so any combination for voicings fits with that. Here are some voicings I use: G7 (b9 b5 #5) or Db9xx6647 G7 (b5 #5) or Db99x986x G7 (#5 b9) or Db9(#11)x 8 11 8 8 x Pretty much anytime you use a tritone sub (ex. some sort of unaltered Db7 chord to function as an altered G7 chord) you're going to have both 5ths, and occasionally both 9ths. Link to comment Share on other sites More sharing options...
Members simeon Posted January 16, 2004 Members Share Posted January 16, 2004 yup - good point about tritone subs having both in the same chord sounds a bit strange to my ears, but i'm not a big fan of altered dominants anyway (i always try to substitute them) - i guess it's diff'rent strokes for diff'rent folks! sim Link to comment Share on other sites More sharing options...
Members edeltorus Posted January 16, 2004 Members Share Posted January 16, 2004 Those altered chords sound horrible to my ears when you play them on their own. They start to make sense and sound great where you alter them to get a nice voice leading within a chain of chords. Link to comment Share on other sites More sharing options...
Members simeon Posted January 16, 2004 Members Share Posted January 16, 2004 yeah - they make more "sense" that way, i guess... still hate them though - as an excersie, try substituting them with another chord from the same altered scale (but not the tritone sub) - you can get some beautiful sequences that way... cheers! sim Link to comment Share on other sites More sharing options...
Members Terje Posted January 16, 2004 Members Share Posted January 16, 2004 Originally posted by edeltorus Those altered chords sound horrible to my ears when you play them on their own. They start to make sense and sound great where you alter them to get a nice voice leading within a chain of chords. Try this to get the sound: Over a ii-V-I in C (Dm7-G7-Cmaj7) you can alter the G7 even though it's not written or played that way by the rhythm section. The altered notes make sense when you can hear the direction they have. One way to create direction is to play in chromatic sequences. So, play C major pentatonic over the Dm7 chord, C# major pentatonic over G7 (that's a lot of altered notes and a tritone sub), and finally D major pentatonic over the Cmaj7 (gives you a Lydian sound). Play one little phrase and repeat it a half-step up, and then once more. This can make it easier to hear the direction of the altered notes. Link to comment Share on other sites More sharing options...
Members Joe Merlino Posted January 17, 2004 Members Share Posted January 17, 2004 Originally posted by edeltorus Those altered chords sound horrible to my ears when you play them on their own. Oh, man! Altered chords are some of my favorite sounds in all of music. Link to comment Share on other sites More sharing options...
Members SeattleRuss Posted January 17, 2004 Members Share Posted January 17, 2004 Sometimes when I'm soloing, I don't want to have a lot of altered tensions in the chords behind me, I like to have the freedom to turn it on / off myself....it just depends. Russhttp://www.russletson.com Link to comment Share on other sites More sharing options...
Members Joe Merlino Posted January 17, 2004 Members Share Posted January 17, 2004 Originally posted by SeattleRuss Sometimes when I'm soloing, I don't want to have a lot of altered tensions in the chords behind me, I like to have the freedom to turn it on / off myself....it just depends.Russhttp://www.russletson.com I can understand that. Usually when I comp for soloists, I go pretty spare. Sometimes I'll just play the 3rd and 7th. But some guys like to be fed harmonic ideas. (Not that I'm playing much straight jazz these days.) In my own music, I love to play the altered chords. Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.