{"id":16855,"date":"2017-06-14T00:00:00","date_gmt":"2017-06-14T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=16855"},"modified":"2024-10-05T17:32:46","modified_gmt":"2024-10-06T01:32:46","slug":"these-altered-dominant-chord-voicings-will-revolutionize-your-playing","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/these-altered-dominant-chord-voicings-will-revolutionize-your-playing\/","title":{"rendered":"These Altered Dominant Chord Voicings Will Revolutionize Your Playing"},"content":{"rendered":"

In today’s lesson, you’ll be learning several altered dominant chord voicings that will take your playing to the next level.<\/p>\n

But before we go any further, it is important for us to glance through the concept of altered chords.<\/p>\n

“What Are Altered Chords?”<\/em><\/h2>\n

Altered chords are chords of the dominant family<\/a> but they are said to be altered<\/em> because a few chord tones are either raised<\/strong> or lowered.<\/strong><\/p>\n

In simple terms, altered chords are chords that some of its chord tones are modified to make them adaptable to a related or foreign key.<\/p>\n

For instance, the C dominant seventh chord:
\n\"\"
\n…which consists of the C, E, G, and Bb tones, can be altered by raising the fifth tone (to G#):
\n\"\"
\n…or lowering the fifth tone (to Gb):
\n\"\"
\n…and also by raising the ninth tone (to D#):
\n\"\"
\n…or lowering the ninth tone (to Db):
\n\"\"
\nIn a nutshell, there’s a little twist in the fifth which can be raised or lowered, and also on the ninth which can be raised or lowered.<\/p>\n

“Check Out These Altered Chord Examples…”<\/em><\/p>\n

C Dom7#5#9:
\n\"\"<\/p>\n

C Dom7#5b9:
\n\"\"
\nC Dom7b5b9:
\n\"\"
\n…and so on.<\/p>\n

Altered chords are used extensively in jazz and gospel styles to resolve to minor chords. For example, the Cdom7 chord:
\n\"\"
\n…resolves to the F major:
\n\"\"
\n…or minor chord:
\n\"\"
\nBut for a stronger resolution to the F minor chord:
\n\"\"
\n…using a C altered chord:
\n\"\"
\n…sounds a whole lot better.<\/p>\n

A Short Note On The Concept Of Chord Voicings<\/h2>\n

A chord<\/strong> is a collection of three or more related notes (agreeable or not), which may be played or heard together.<\/p>\n

For example, the C major chord:
\n\"\"
\n…consists of three related notes (that are agreeable), and may be played or heard together.<\/p>\n

The Concept Of Chord Voicing<\/h3>\n

The notes of a chord can be considered as voices or voice parts – soprano, alto, tenor, and bass.<\/p>\n

Voicing is the consideration of the notes of a chord as voices, and has to do with the rearrangement of the notes of a chord using techniques known to music scholars as voicing techniques<\/em>.<\/p>\n

The C major seventh chord:
\n\"\"
\n…can be rearranged into any of the following voicings…<\/p>\n

The part-over-root voicing:
\n\"\"
\nThe skeleton voicing:
\n\"\"
\nThe drop-two voicing:
\n\"\"
\nThe rootless voicing:
\n\"\"
\nThe polychord voicing:
\n\"\"
\n…and more.<\/p>\n

The Importance Of Voicing<\/h3>\n

The overall harmony in all the cases is the C major seventh chord:
\n\"\"
\n…however, the use of a variety of voicing techniques to rearrange it adds an extra dimension to the C major seventh chord.<\/p>\n

The concept of voicing is used mostly in gospel and jazz styles by advanced musicians to enhance and sophisticate regular chords. For example, playing the drop-two voicing of the F major seventh chord:
\n\"\"
\n…sounds different compared to the regular F major seventh chord:
\n\"\"
\nSo, using the concept of voicing, regular chords can be enhanced and stylized. Let’s go ahead and explore altered dominant chord voicings.<\/p>\n

These Altered Dominant Chord Voicings Will Revolutionize Your Playing<\/h2>\n

Voicing #1 – Tenth and Quartal triad <\/b><\/h3>\n

<\/p>\n

This voicing features a major tenth on the left hand:
\n<\/p>\n

\u2026built off the root note.<\/p>\n

On the right hand is a quartal triad<\/a>:
\n
\n\u2026built off the \u266d<\/span>7 degree of C major scale.<\/p>\n

Voicing #2 – Tenth and Tertian Triad <\/b><\/h3>\n

<\/p>\n

Here\u2019s another voicing with a filled-in<\/i> major tenth on the left hand.
\n<\/p>\n

In between the major tenth is the \u266d<\/span>7 tone.<\/p>\n

The difficulty of this left hand part is undeniable, but it\u2019s worth it after all because having C, B\u266d<\/span>, and E in one hand outlines the basic dominant seventh structure.<\/p>\n

This leaves the right hand with the obligation of providing the extensions via a triad<\/strong> (aka \u2013 \u201cupper structure triad\u201d).<\/p>\n

Our choice of triad in this case is a tertian triad \u2013 A\u266d<\/span> major triad:
\n<\/p>\n

When I said we\u2019re borrowing from F minor and that there\u2019s a relationship between F minor and A\u266d<\/span> major, I was merely stating the obvious.<\/p>\n

Voicing #3 – Tenth and Suspended Chord<\/b><\/h3>\n

<\/p>\n

This is the final voicing for today that will use a left hand major tenth.
\n
\n\u2026built off the root note.<\/p>\n

On the right hand is an A\u266d<\/span>sus2 (suspended<\/a>) chord :
\n
\n\u2026that\u2019s another chord from A\u266d<\/span> there. Expect more.<\/p>\n

Voicing #4 – Dom7 and Seventh Chord<\/b><\/h3>\n

[thrive_lead_lock id=’11374′]
\n<\/p>\n

Alright!<\/p>\n

I flipped the left hand just in case you found the three earlier voicings challenging.<\/p>\n

In the left hand, I\u2019m using a dom7 chord:
\n<\/p>\n

\u2026the fifth is omitted because we\u2019re altering it.<\/p>\n

On the right hand, we\u2019re playing a maj7\u266d<\/span>5:
\n
\n\u2026built off the third degree of C major scale.<\/p>\n

Voicing #5 – Dom7 and Major triad<\/b><\/h3>\n

<\/p>\n

Using the same left hand voicing of voicing #5:
\n
\n\u2026I\u2019m doing something different on my right hand.<\/p>\n

I\u2019m playing the A\u266d<\/span> major triad in second inversion:
\n
\n\u2026I trust you\u2019re getting used to A\u266d<\/span> over Cdom7.<\/p>\n

Voicing #6 – Skeleton and Major triad <\/b><\/h3>\n

<\/p>\n

The third and seventh of a chord are of the greatest<\/em> importance in chord formation and recognition.<\/p>\n

They are often referred to as the skeleton<\/b>.<\/p>\n

This voicing features the use of the skeleton (third and seventh):
\n
\n\u2026on the left hand.<\/p>\n

On the right hand is an A\u266d<\/span> major triad in second inversion:
\n<\/p>\n

Voicing #7 – Skeleton and Suspended chord<\/b><\/h3>\n

<\/p>\n

This voicing features the use of the skeleton:
\n
\n\u2026on the left hand.<\/p>\n

On the right hand is an A\u266d<\/span>sus2 chord in octave position:
\n<\/p>\n

Voicing #8 – Quartal triad and Major triad<\/h3>\n

<\/p>\n

This voicing features the use of the maj7sus\u266f<\/span>4 chord:
\n
\n\u2026on the left hand.<\/p>\n

On the right hand is an A\u266d<\/span>major triad in root position:
\n<\/p>\n

Voicing #9 \u2013 Tertian triad and Quartal triad<\/h3>\n

<\/p>\n

This voicing features the use of an augmented triad:
\n
\n\u2026on the left hand.<\/p>\n

On the right hand is a B\u266d <\/span>quartal chord:
\n<\/p>\n

Voicing #10 \u2013 Tertian triad and Tertian triad<\/h3>\n

<\/p>\n

This voicing features the use of an augmented triad:
\n
\n\u2026on the left hand.<\/p>\n

On the right hand is an A\u266d <\/span>major chord in second inversion:
\n
\n[\/thrive_lead_lock]<\/p>\n

Summary<\/b><\/h2>\n

Voicings #1-3<\/strong> are related by the major tenth left hand voicing style. However, different right hand chords are used, ranging from quartal, to tertian, and suspended chords.<\/p>\n

Voicings #4 & 5<\/strong> share the same left hand style in common. The right hand chords used are triads and seventh chords.<\/p>\n

Voicings #6 & 7<\/strong> have the skeleton on the left hand part with major and suspended chords on the right hand.<\/p>\n

Voicings #8-10<\/strong> consist of polychords (the superimposition of two or more chords). Variety is created between tertian and quartal triads.<\/p>\n

See you next time!<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Take your playing to the next level using these altered dominant chord voicings.<\/p>\n","protected":false},"author":9,"featured_media":22604,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9],"tags":[17],"class_list":["post-16855","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","tag-basic-songs","post-wrapper","thrv_wrapper"],"yoast_head":"\nThese Altered Dominant Chord Voicings Will Revolutionize Your Playing - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Take your playing to the next level using these altered dominant chord voicings.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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