So for G, any major chord other than A, D♭, and F. Chord tendency: same as 7♭5 but also the ♭7 and sometimes chord intervals (♭9, ♭3, 5). For example C7b9 contains C-E-G-Bb-Db. Chord tendency: This is a suggestion of where the chord tends to come to rest. There are approximately 26 different altered chords you can choose to spice up your chord progressions. Question 1: Why, how and when to use altered chords? Due to the coronavirus, I have lost 80% or more of my income. Chord tendency: resolves best to ♭9, 4, 5 and M7 but also to the ♭5, G7♭5 > A♭, C, D, F#, and D♭ 13#9 NR/N5 = 13#9 NR/N5 on the ♭5 (double tritone / symmetrical chord), e.g. Equivalent chord: maj9#5 on the ♭13, G7♭13 = E♭maj9#5 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. They are not! This lesson will present numerous voicings for altered dominant chords. Here are the scales that I used to build these chords: Harmonic minor scale Chord tendency: resolves best to ♭3, 4, 6, weakly to M7 but also to 5 and #5. 7♭13 NR = 13♭5 N3 on the ♭7 (E7♭13 NR = D13♭5 N3) We use cookies to ensure that we give you the best experience on our website. Scale(s): 5th mode harmonic minor, odd scale degrees of the Half-Whole diminished scale. 7♭9#11 = 7 + m2 + A4, G7♭9#11 = G-B-D-F-A♭-C#, Alternate names:7(♭9, #11) I came up with 23 common names, 26 if you accept 7#9♭13, 7♭5♭13 instead of the 7#5#11 and 9♭5♭13. I mention the scale and scale degree/mode that build all of these chords. Jazz Guitar Lessons, major seventh chords, Jazz Guitar Lessons, giant steps, Coltrane substitution. Chord tendency: resolves to the ♭9, 9, 4, 5, ♭6, ♭7, G7♭9#11 > A♭, A, C, D, E♭ and F# (3 tritones and tritones invert to tritones). I cover everything you need to know about each chord. G7♭9 > A, C, E♭, F# (E♭m & F#m sound better), but Em and A♭m also sound like resolutions. Alternate names: 7(♭13) Here is a chart of the symbols I use on my guitar chord blocks: First up are the three 7♭9 chords. 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 9♭5 on the ♭5 and 9#5 on the ♭13, G7♭5♭13 = D♭9♭5 = E♭9#5 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). Only 2 chords in this group but the 7#9 is without a doubt my favorite. Any chord can be altered, but in popular music and jazz, altered chords usually refer to dominant chords. All open chords for every chord type in every key. The 7♭9#11 chord is one of the two altered seventh chords that is made up of 3 separate tritones. 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. Here are the resulting chords if you drop the root notes on the chords above. If the altered tones conflict with the melody, then don’t use them or try a different altered chord. Dominant 11 = 7 + P4 = 1-3-5-♭7-11 Altered chords make fantastic chord substitutes for regular dominant 7th chords. Here are the intervals of a 7 chord. Chord tendency: Literally to every key. When combined with the  5ths you can build about 26 altered dominant 7th chords. ), Alternate names: 7(#11), 7+11 Don’t believe me, then try a maj7#9 chord and you’ll see what I mean. Chord tendency: same as 7♭5♭9 1. The 7#9#11 is one of the nastiest chords there is! 13#9 N5 = 13♭5#9 NR on ♭5 (E13#9 N5 = B♭13♭5#9 NR). The strict definition of a 7alt chord is a dominant 7th chord with both an altered 5th and an altered 9th resulting in 4 possible chords: However, I prefer the not-so-strict definition of the 7alt chord with an altered 5th or an altered 9th, giving 4 more possible chords: Then there is my term “altered 7ths” which refers to chords with perfect 5ths and altered extensions of the 9th, 11th, and 13th. ALTERED CHORDS Generally speaking, an altered chord is a chord with either a b5th, b9th, #9th or any combination thereof.