Ex­AM­PLES

Guitar Techniques - - PLAY: CHROMATICS -

al­tered V to i res­o­lu­tion

Ex­am­ple 6: In jazz a com­mon prac­tice is to im­ply a move from dom­i­nant V7 to tonic. This im­plied ‘per­fect’ cadence could be made stronger still by rais­ing or low­ing the ex­ten­sions on the V7 chord to cre­ate a sharp or flat 5, sharp or flat 9, or any com­bi­na­tion thereof. To go along with th­ese ‘al­tered’ chords we have the Al­tered scale, or Su­per­locrian. G Al­tered is G-Ab-Bb-B-Db-Eb-F, which when com­bined with our C Ma­jor scale gives us 11 of the 12 chro­matic notes. Or we could swap to C Ly­dian (C-D-E-F#-G A-B) from C Ma­jor to get the com­plete set.

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