{"id":1351,"date":"2011-02-22T08:09:16","date_gmt":"2011-02-22T16:09:16","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=1351"},"modified":"2024-12-25T16:13:12","modified_gmt":"2024-12-26T00:13:12","slug":"the-key-to-playing-altered-passing-chords","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/the-key-to-playing-altered-passing-chords\/","title":{"rendered":"The Key To Playing Altered Passing Chords"},"content":{"rendered":"

Yesterday<\/a>, we discussed how to use diminished passing chords a half step lower to transport us where we want to go.<\/p>\n

In other words, if you wanted to get to D minor 7, you’ll use the diminished 7 chord a half step lower — in this case, Db dim 7 (or C# dim 7). That was yesterday’s<\/a> concept.<\/p>\n

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Another Approach To Passing Chords<\/h1>\n

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Today, we’re going to cover how to use passing chords a half step HIGHER than the target chord.<\/p>\n

So, in trying to get to the same D minor 7 chord, we’ll now focus our attention on Eb — a half step higher — rather than Db (which is a half step lower and would usually carry a diminished 7 chord).<\/p>\n

The only difference is we’re not using a diminished 7 chord this time. We’re going to use an altered dominant chord… a “#9 #5” seventh chord to be exact.<\/p>\n

Altered Passing Chords<\/h2>\n

Let’s back up and cover this dominant 7 (#9 #5) chord. (BTW, here’s a great article about them<\/a>.)<\/p>\n

First you simply start with a dominant 7 chord. Let’s use C as an example.<\/p>\n

C7
\n<\/p>\n

That’s the base.<\/p>\n

The chord calls for a sharp 9<\/a>