This document discusses altered dominant chords, which are dominant 7th chords with a raised or lowered 5th scale degree. Lowering the 5th creates a Vb5 chord, while raising the 5th creates a V+ chord. Both altered dominants still function like a normal V7 chord, with tendency tones resolving in typical half-step motions. Examples are provided of writing altered dominants in different keys and analyzing their resolutions. Care must be taken to avoid doubling tendency tones or omitting thirds in the resolution chord.
This is a document in progress so stay tuned.
This has helped a lot of my students to take the mystery out of applied music theory. It is of course relevant to all musical instruments. You do not need a 'chord dictionary' learn the basics and you can create them all.
This is a document in progress so stay tuned.
This has helped a lot of my students to take the mystery out of applied music theory. It is of course relevant to all musical instruments. You do not need a 'chord dictionary' learn the basics and you can create them all.
Episode 6 : The Mediant Substitution and Other VariationsGuitarBytes
This episode looks at the theory and practice behind using the mediant substitution, a useful substitution for chord I. Other substitutions such as chord quality and tritone are revisited as a useful way of negotiating a turnaround is explored.
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Continuing on with the blues theme this episode introduces the mixolydian scale, an effective scale which can be played over a dominant chord. The theory behind the scale and its construction is explained before looking at a solo based on the scale.
Episode 6 : The Mediant Substitution and Other VariationsGuitarBytes
This episode looks at the theory and practice behind using the mediant substitution, a useful substitution for chord I. Other substitutions such as chord quality and tritone are revisited as a useful way of negotiating a turnaround is explored.
Episode 9 : An Introduction to Mixolydian ScalesGuitarBytes
Continuing on with the blues theme this episode introduces the mixolydian scale, an effective scale which can be played over a dominant chord. The theory behind the scale and its construction is explained before looking at a solo based on the scale.
A word from a developing artist exploring the many avenues of music business.
check out more via our blog on our website. We would love to hear from you!
https://www.ctwlibrary.com/masters-of-music-philosophy/arsenal-report/
This episode shows how it's possible replace a dominant chord with another dominant chord a flat 5th above and shows how you can apply this to the song Georgia On My Mind.
For more scores and other supplementary material to accompany this and the other GuitarBytes episodes visit www.guitarbytes.co.uk
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This episode looks at chord construction and the function of each chord tone. A useful way of playing a blues progression is discussed along with practical advice of playing with other instrumentalists.
Key signature, in musical notation, the arrangement of sharp or flat signs on particular lines and spaces of a musical staff to indicate that the corresponding notes, in every octave, are to be consistently raised (by sharps) or lowered (by flats) from their natural pitches.
A word from a developing artist exploring the many avenues of music business.
check out more via our blog on our website. We would love to hear from you!
https://www.ctwlibrary.com/masters-of-music-philosophy/arsenal-report/
Episode 1 : Blues turnaround chord melody lick.GuitarBytes
This episode shows you how to play a very useable bluesy lick which introduces the idea of chord substitutions; replacing a dominant chord with a minor chord and chromatic approach chords.
For more scores and other supplementary material to accompany this and the other GuitarBytes episodes visit www.guitarbytes.co.uk
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Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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For more information, visit-www.vavaclasses.com
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A Strategic Approach: GenAI in EducationPeter Windle
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2. What we already know about dominant chords…
They are V and V7 chords.
They have tendency tones that must resolve in certain ways
Leading tone (3rd of chord) goes up by step
Seventh (scale degree 4) goes down by step
They go to I chords (or i chords)
3. Easy example of a dominant chord
V7 in the Key of F major:
C, E, G, Bb
How does it resolve?
C goes to F
E goes to F, can also be a frustrated leading tone going to C
G can go to F or A. However, the A should be avoided for an awkward doubling.
Bb goes to A
4. Adding some chromaticism
We already know that chromatic elements were added as harmonic
language developed. Many instances of chromaticism gave the music a little
added intensity.
The Augmented 6th chord, for example, is like a iv6 chord with a raised root.
This drives the chord more intensely to V.
A V/V chord is a variation on the regular ii chord that gives a stronger weight
to the progression towards V.
Typically, raised (#) notes resolve up by half step. Lowered (b) notes resolve
down by half step.
5. Putting it together
Given what we know about dominants and what we know about chromatic
chords, we can now create a new class of chords: The Altered Dominant
By raising or lowering the 5th of a V chord, we get an altered dominant.
Changing this note doesn’t alter the function of the chord. It still works like a V
chord, going to I.
Changing this one note doesn’t affect the resolution of any other notes. The
leading tone still goes up and the 7th still goes down.
The 5th of the chord is the only thing changed. That will either go up or down by
half step, depending on whether it is raised or lowered.
6. Back to the V7 in F Major
V7 in F is, as we observed before, C-E-G-Bb F-F-F-A
The order of the notes tell you the resolution since I’m not writing in score. So, the
C, E, and G go to F, the Bb goes to A.
What if we lower the G to a Gb?
We now have an altered dominant.
C-E-Gb-Bb F-F-F-A. The resolution hasn’t changed. The sound of the chord has.
What if we raise the G to a G#?
C-E-G#-Bb F-F-A-A.
Raising the fifth in a V7 should be avoided, because it’s creates a double doubling.
It’s ok to raise a fifth in a V chord. This makes is a V+
7. Altered Dominants
Vb5- V chord with a lowered fifth (that must resolve downwards)
V+, also V#5- This is a true augmented chord. The fifth resolves upward
V7(b5) – A V7 chord with a lowered fifth. Observe the notation in parentheses.
This is a convention used in typing because most programs don’t allow the
user to have a super and a subscript. When writing, the b5 typically goes
under the 7.
V7(#5) – A V7 chord with a raised fifth (that resolves upwards). This chord is
typically not used because it leads to a part-writing error.
8. Practice- Write the following chords and
their resolutions
V+ in A
Vb5 in Bb
V7(b5) in D
9. Answers
V+ in A
E-G#-B#-E A-A-C#-E
Don’t double a tendency tone- that means leading tone (G#), altered tone (B#), or
seventh (no seventh in this chord)
Vb5 in Bb
F-A-Cb-F Bb-Bb-Bb-D
V7(b5) in D
A-C#-Eb-A D-D-D-F#
10. Observations
There are not as many choices in resolutions for these chords. Almost every
pitch is a tendency tone. Don’t get creative in resolutions.
NEVER NEVER NEVER double an altered pitch.
Make sure that your resolution chord has a third. These are sometimes easy
to overlook, particularly in the V+ and Vb5 chords.