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    Altered Tensions Chords: Thirtee110

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    marcoantelo
    This document discusses dominant seventh chords that contain both the b9 and #9 tensions in their voicings. It examines voicings with and without guide tones for these chords. It introduces characteristic voicings for dom7(alt9) chords and applicable inversions. It also notes that some substitute V chords will produce incomplete structures and should be used with care.

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    Altered Tensions Chords: Thirtee110

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    marcoantelo
    49 views1 page
    This document discusses dominant seventh chords that contain both the b9 and #9 tensions in their voicings. It examines voicings with and without guide tones for these chords. It introduces characteristic voicings for dom7(alt9) chords and applicable inversions. It also notes that some substitute V chords will produce incomplete structures and should be used with care.

    Original Description:

    Chords Tension

    Original Title

    9na Tension

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    This document discusses dominant seventh chords that contain both the b9 and #9 tensions in their voicings. It examines voicings with and without guide tones for these chords. It introduces characteristic voicings for dom7(alt9) chords and applicable inversions. It also notes that some substitute V chords will produce incomplete structures and should be used with care.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    49 views1 page

    Altered Tensions Chords: Thirtee110

    Uploaded by

    marcoantelo
    This document discusses dominant seventh chords that contain both the b9 and #9 tensions in their voicings. It examines voicings with and without guide tones for these chords. It introduces characteristic voicings for dom7(alt9) chords and applicable inversions. It also notes that some substitute V chords will produce incomplete structures and should be used with care.

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    Chapter Thirtee110

    Altered 9th Tensions (~9 and #9) on Dom7 Chords


    These dominant chords contain both tensions b9 and #9 in their voicings. Since tension b9 dictates the dom7 chord ,
    voicings with and without the guide-tones will be examined. Some of the Sub V chords will produce very incomplete
    structures and should be used with care.
    \Vith the exception of the dom7(alt9/13) {3 b9 #9
    13 }°chord. all of the voicings in this chapter have been previously
    introduced enharmonically. Those inversions placing tension #9 on the 5th string will be avoided. Those chords
    using tension 13 wiU avoid this tension on the 5th string as well .

    Idom7(alt9) I
    The most characteristic voicing would include the guide-tones {3 b7 b9 #9 }.

    {3 b7 b9 #9} C7(alt9) = Db -6(9) { l b3 6 9}

    There is one applicable inversion: ~9 C-9 F7(alt9) Bbmaj7


    ~-~7 J-
    .
    ;b ~
    ~~~~~~-
    _

    (F-
    ar
    .~~
    -6
    -(-
    9)-
    -e-_---H
    0_ _11
    -

    )~~~~~~~~-'
    ~
    · · - 1 -_ _

    F~-9 B13
    l E6(9)

    (Sub V) -4-#o___#n____~.....___i---Hll
    {l b7 b9 #9} C7(alt9) = Gb6C# 11) {3 5 6 #11}
    There are two applicable inversions: #9 b9
    1 1

    t~ f~
    C-9 F7(alt9) B~ maj7(6J E -9 A7(alt9) Dmaj7(# 11)
    b.o.
    lz~ ~ II
    A Dea.
    g #;t II

    (Sub V)
    ' F#-7
    -e-
    J,
    B6(#11)
    jio
    E6(9)
    .n
    Bb7sus4

    rbs I b.&
    I
    v
    Eb6(#11)
    b..o.
    A~maj9
    I

    hii;;;23
    {5 b7 b9 #9)
    ' C7(a1t9) = Eb7

    ~~
    There are three applicable inversions: b7 b9
    ~99 5

    ~~
    5
    b9 5

    91

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