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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 ...
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.
In this case, the chord is viewed as a C major seventh chord (CM 7) in which the third note is an augmented fifth from root (G ♯), rather than a perfect fifth from root (G). All chord names and symbols including altered fifths, i.e., augmented (♯ 5, +5, aug5) or diminished (♭ 5, o 5, dim5) fifths can be interpreted in a similar way.
A tritone substitution is the substitution of one dominant seventh chord (possibly altered or extended) with another that is three whole steps (a tritone) from the original chord. In other words, tritone substitution involves replacing V 7 with ♭ II 7 [ 7 ] (which could also be called ♭ V 7 /V, subV 7 , [ 7 ] or V 7 / ♭ V [ 7 ] ).
In a tritone substitution, the substitute chord only differs slightly from the original chord. If the original chord in a song is G7 (G, B, D, F), the tritone substitution would be D ♭ 7 (D ♭, F, A ♭, C ♭). Note that the 3rd and 7th notes of the G7 chord are found in the D ♭ 7 chord (albeit with a change of role). The tritone ...
Seventh (F), in red, of a G7 dominant seventh chord in C Third inversion G7 chord; the seventh is the bass. In music, the seventh factor of a chord is the note or pitch seven scale degrees above the root or tonal center. [1] When the seventh is the bass note, or lowest note, of the expressed chord, the chord is in third inversion Play ⓘ.
For example, an altered G7 chord might be played with a basic voicing, often the 3rd (B) and 7th (F), along with some of the following notes A ♭, A ♯, C ♯, and E ♭ (♭ 9, ♯ 9, ♯ 11, ♭ 13), subject to the taste and style of the performer and/or the bandleader. In combos with a guitar player, the guitar player usually comps for ...
In dominant function, the VII half diminished chord, like its fully diminished counterpart, can take the place of the dominant V chord at a point of cadential motion. This chord, sometimes called a leading-tone diminished seventh chord, is represented by the Roman numeral notation vii ø 7, the root of which is the leading-tone to the tonic. [3]