Colonel Scott ups the ante this month taking it to the ninth degree and beyond with some altered b dominant chords – 7 9 and 7#9 – in different styles.
Iain Scott takes it to the ninth degree with some altered dominant chords in various styles.
In the last issue we discussed altered dominant 7th chords, starting with ‘alterations’ of the 5th degree: the dominant 7th with a diminished (or flattened) 5th; and the dominant 7th with an augmented (or sharpened) 5th.
This issue we take it a little further to look at alterations of the 9th degree. Take the key of G: spelling on in thirds from the G root we get G-B-D-F-A (R-3-5-7-9), which is G9. Altering the A (9th) up or down a semitone
G7b9 will give us a or G7#9 chord. These are both very handy chords for the following three reasons: 1. They both operate as moving (functioning) V chords, say in II-V-I progressions etc.
7b9 2. A Dominant can also substitute for a diminished chord. 3. A Dominant 7#9 can operate as a static dominant V chord – just ask Hendrix. First, let’s recap the dominant 7th chord
7b9 shapes, and then learn and 7#9 altered chord four-note voicings across the fretboard using CAGED shapes. The examples will show typical usage of the more common shapes. See if you can recognise them in songs you know.