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2. Altered chord - Wikipedia

   en.wikipedia.org/wiki/Altered_chord

   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 ...

3. Tritone substitution - Wikipedia

   en.wikipedia.org/wiki/Tritone_substitution

   Since it is the dominant chord a tritone away, the substitute dominant may resolve down a fifth, to a tonic chord a tritone away from the previous tonic (for example, in F one may feature a ii–V on C, which with a substitute dominant resolves to G ♭, a distant key from F). Resolution from the substituted chord to the original tonic is also ...

4. Category:Altered chords - Wikipedia

   en.wikipedia.org/wiki/Category:Altered_chords

   Pages in category "Altered chords" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes. Altered chord; D.

5. Chord notation - Wikipedia

   en.wikipedia.org/wiki/Chord_notation

   the chord quality (e.g. minor or lowercase m, or the symbols o or + for diminished and augmented chords, respectively; chord quality is usually omitted for major chords) whether the chord is a triad, seventh chord, or an extended chord (e.g. Δ 7) any altered notes (e.g. sharp five, or ♯ 5) any added tones (e.g. add2)

6. Augmented seventh chord - Wikipedia

   en.wikipedia.org/wiki/Augmented_seventh_chord

   The augmented minor seventh chord may be considered an altered dominant seventh and may use the whole tone scale, as may the dominant seventh flat five chord. [7] See chord-scale system. The augmented seventh chord normally acts as a dominant, resolving to the chord a fifth below. [8] Thus, G aug 7 resolves to a C major or minor chord, for example.

7. Dominant seventh sharp ninth chord - Wikipedia

   en.wikipedia.org/wiki/Dominant_seventh_sharp...

   [12] In jazz, 7 ♯ 9 chords, along with 7 ♭ 9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm 7 ♭ 5 – G 7 ♯ 9 – Cm 7. The 7 ♯ 9 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and ...