Common altered chords
So what are these altered chords?
Very simply, an altered chord is a chord whose formation has undergone alterations in its intervallic sequence.
These chords are different from the other chords we learnt earlier. They are different because they are usually used as passing chords [chords used to fill in gaps when making progressive movements]; transportation to take you to some of those other chords like the major 9ths or the minor 11ths, and not as base chords. They are very valuable when it comes to filling in the gaps making the music sound a little spicier.
If we remember our Tertian rule of chord formation, where the interval between notes are in thirds, the formation of the chords that are altered break this sequence to seconds and fourths, even fifths.
So, altered chords are not some strange phenomena like some make it, but they are just chords that alter their interval from thirds at some point, and the common ones are the augmented qualities. They produce 90% of the altered chords that exist because of their need to extend beyond triads.
These common altered chords [one of them at least] is actually both a di-tone and a tri-tone chord formation once you invert it right. The power of the chord is such that it changes its name and usage based on the inversion you choose to play it in.
Sweet!
The most common altered chord we will talk about here is the Aug 7 #9 [Dominant 7 (#5) #9] and the Aug 7 b9 [Dominant 7 (#5) b9]. You are going to come across these chords most of the time in your music, because they are the ones you would find most useful. So in the key of C, it would look like this for both:
Very simply, an altered chord is a chord whose formation has undergone alterations in its intervallic sequence.
These chords are different from the other chords we learnt earlier. They are different because they are usually used as passing chords [chords used to fill in gaps when making progressive movements]; transportation to take you to some of those other chords like the major 9ths or the minor 11ths, and not as base chords. They are very valuable when it comes to filling in the gaps making the music sound a little spicier.
If we remember our Tertian rule of chord formation, where the interval between notes are in thirds, the formation of the chords that are altered break this sequence to seconds and fourths, even fifths.
So, altered chords are not some strange phenomena like some make it, but they are just chords that alter their interval from thirds at some point, and the common ones are the augmented qualities. They produce 90% of the altered chords that exist because of their need to extend beyond triads.
These common altered chords [one of them at least] is actually both a di-tone and a tri-tone chord formation once you invert it right. The power of the chord is such that it changes its name and usage based on the inversion you choose to play it in.
Sweet!
The most common altered chord we will talk about here is the Aug 7 #9 [Dominant 7 (#5) #9] and the Aug 7 b9 [Dominant 7 (#5) b9]. You are going to come across these chords most of the time in your music, because they are the ones you would find most useful. So in the key of C, it would look like this for both:
This should be easy to pick up if you understood your numbers well enough. You just play your regular augmented triad, add the dominant 7, and then sharpen or flatten the 9th tone. Easy!
These chords can be used to go to the minor, or to the major, as passing chords. The melody in both chords is different, and you use them dependent on how you want to voice your melody.
Now, though they can be used to go to the same kind of chords, some placements are unique. For example, the Aug 7 b9 goes very well coming from a walk-down from the 2 tone to the 5 tone. The other [Aug 7 #9] goes better between the 3 tone and the 6 tone, and also the 6 to the 2.
We’d cover that in the next element of the Foundation series, Pattern Proficiency.
These chords can be used to go to the minor, or to the major, as passing chords. The melody in both chords is different, and you use them dependent on how you want to voice your melody.
Now, though they can be used to go to the same kind of chords, some placements are unique. For example, the Aug 7 b9 goes very well coming from a walk-down from the 2 tone to the 5 tone. The other [Aug 7 #9] goes better between the 3 tone and the 6 tone, and also the 6 to the 2.
We’d cover that in the next element of the Foundation series, Pattern Proficiency.