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By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary dominants. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional ...
Print/export Download as PDF; Printable version; In other projects ... Pages in category "Altered chords" The following 4 pages are in this category, out of 4 total.
Four and one half steps down from standard Drop A. Used by Within the Ruins on the album Phenomena with the variation C-F-c-f-A#-D-G. Drop B0 – B-F ♯-B-E-A-C ♯-F ♯ / B-G ♭-B-E-A-D ♭-G ♭ Five full steps down from standard Drop A. Six full steps (one octave) down from a baritone Drop B guitar
The diagonal movement of chords is especially simple for the regular tunings that are repetitive, in which case chords can be moved vertically: Chords can be moved three strings up (or down) in major-thirds tuning, and chords can be moved two strings up (or down) in augmented-fourths tuning. Regular tunings thus appeal to new guitarists and ...
A secondary dominant or other chromatically altered chord may be used to lead one voice chromatically up or down on the way to the new key. (In standard four-part chorale-style writing, this chromatic line will most often be in one voice.) For example, a chromatic modulation from C major to D minor:
V of V in C, four-part harmony Secondary leading-tone chord: vii o 7 /V - V in C major. This may also be considered an altered IV 7 (FACE becomes F ♯ ACE ♭). [1]In music, tonicization is the treatment of a pitch other than the overall tonic (the "home note" of a piece) as a temporary tonic in a composition.
Jazz chord-playing musicians may also add altered chord tones (e.g., ♯ 11) and added tones. An example of an altered dominant chord in the key of C, built on a G would be to voice the chord as "B–C ♯ –E–F–A ♭"; this would be G 7(♭ 9 ♯ 11).
If the chordal playing musician were to omit the root and fifth of the dominant seventh chord (the G and D) and keep the third (B) and flatted seventh (F), and add the altered tones just listed (A ♭, C ♯ and E ♭), the resulting chord would be the pitches B, C ♯, E ♭, F, A ♭, which is a much different-sounding chord than the standard ...