Altered Chords | What, Why, How.
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- čas přidán 2. 06. 2024
- www.buymeacoffee.com/michaelk...
At the request of a few people here's my take on altered chords and altered chord harmony. I hope it answers some questions you might have.
Thank you for watching and being part of this community.
MK
#musictheory #alteredchords #harmony
Chapters:
00:00-00:17 Intro
00:17-00:52 What did you call me?
00:52-01:17 It's a Dominant 7
01:17-01:45 Tension & Release
01:45-03:23 Dominant 7 Tension
03:23-04:30 Tension in different styles
04:30-09:27 Altered Chords (finally)
09:27-11:52 Using these chords
11:52 Over of vamp
This is lowkey an underrated channel. Going to enjoy watching it blow up
Agree! Im so happy i joined the ride🤟
Yup!!!
Ah man, thanks for the kind words, I hope you guys are right!! 😂🤞🏼
Same, i was here!😁
Agreed. The quality and conciseness of his content is professional!! When I first started watching his videos I was surprised at how he only had a few hundred followers
You're definitely one of those "CZcamsrs" that actually communicate theory better than teachers in a university setting. Great video sir!
Thanks, that’s nice you to say so.
I’ve definitely experience the reality that you can be an amazing musician but not a very good teacher. Equally, possibly in my case, you can be a good teacher and not necessarily a great musician!
Thanks for watching and commenting 🙏
At Oberlin College, they expected the students already to know the stuff you now can find in YT videos (this was before CZcams, though)... even though almost all of the students had holes in theory knowledge, because they'd been focusing on specific styles (classical vs jazz was one of those dividing lines).
OTOH, music theory at UNCW (North Carolina at Wilmington) was a high school band director who was mispromoted (IMO) to a university environment. I went from being not knowledgeable enough for the intro course at Oberlin, to placing out of the entire intro year, at UNCW (after having failed a semester at Oberlin). So, my opinion of university music professors varies widely.
I’m never in comment sections but this channel is everything I’ve been looking for
I appreciate you being here. Really nice to hear you've found some value in my channel, thanks for your comment 🙏
Best channel about music theory in CZcams these days
🙏 You’re too kind. Not sure you’re right but I appreciate it anyway!
You don't just explain the theory but also show us how to put it into practice which makes you a great teacher!
🙏 Thank you for the kind words.
Please keep making these videos. It’s been said a lot here, but you are a FANTASTIC teacher. It’s nice to hear someone clearly and patiently explain everything you talk about. Besides the topics of the videos, there are countless nuggets being dropped along the way that are connecting the dots of everything else I’ve learned.
Your channel is going to take off. And the humor is a nice bonus!
🙏 Thank you for your kind words. I really do appreciate your comment and I'm glad you're finding some value in the videos. Cheers.
You may be an average musician but you are a staggeringly magnificent communicator.
🙏
Along with your superb teaching style, your dry sense of humour really keeps me wanting to watch until the end. I'm learning a lot from your videos. Thank you.
Ah, thanks Trefor! Really good to hear you're getting some value from the videos. Thanks for leaving a comment, much appreciated! 🙏
Michael. This channel is an absolute goldmine for music theory. I am primarily an autodidact guitarist but your explanations are utterly priceless. Thank you so very much - these are the missing structures and functions in the logic of music that I have been craving for. Brilliant. 🙂
Thanks DK! I appreciate your kind comment and I'm glad that you're finding some value from my channel. 🙏
I really like the way that you effectively explain things. Thanks for this great video!
🙏 Thank you. Glad you enjoyed it!
thank you Michael I finally understand how to actually use alt chords in a more flexible and aesthetic manner
Thanks for the nice comment Lisa, glad it was helpful. Good luck on your CZcams journey! 👍
Hello my new favourite music/jazz teacher on the internet.
Hello Kwame! Thanks for you kind comment, I'm glad you're here!
Michael you explain this beautifully, thanks a lot!
My pleasure! Thanks for watching and leaving a comment, much appreciated 🙏
I've been a guitarist and bassist since the 90's but the piano seems the instrument that makes the most sense to me for learning theory. Thank you
Thanks for the comment James! Yeah, the piano is such a visually helpful instrument to process theory. Thanks for watching 👍
Amazing
Very well done! You're going to be full-time music before you know it. Great mix of professional, chill and quirky. Keep it up!
Cheers Eli, really appreciate the support and encouragement. Good to hear you're enjoying the content.
I've finally and clearly understood what altered chords are: the whole spiced up with your usual relaxed ambiance and pleasant sense of humour. Thank you very much, Michael!
Cheers man, I really appreciate your kind comments! 🙏
@@michaelkeithson You are very welcome, Michael, I truly love your videos.
Good stuff to know 👍🎹🎶
Amazing video as always !!
Thanks man, appreciate it 👍🏼
Straight to the point thanks mate
You. Are. Welcome! 👍🏼
Dude, I love you. Amazing tutorial ❤
Ah thanks man 😳, I’m sure you’re really nice too😂😘
Bloody hell, thank you!
You are welcome!
Thanks for this interesting and clear explanation!
You are very welcome! Thanks for the comment 🙏
Great video, thank you so much
You are very welcome! Thanks for leaving a comment 🙏
Very helpful information! Thank you!
Hey Steve, glad you found it useful. Thanks for watching and leaving a comment, much appreciated! 👍🏼
Beautiful. Thank you again, I’ve been confused about these for a long time.
Great! Really pleased it was useful. 👍🏼
Great sir! Thnx a million🙏
Thanks Bjorn, hope it was helpful!
Love your style. Really enjoying the explanations.
Cheers! I appreciate you watching and leaving a comment 🙏
grrrrrrrreat work! Really useful, didactically conceptualized especially for my actual playing abilities. Really appreciated! Greetings from germany.
Thank you! Great to hear that it was useful for you. Thanks for the comment 🙏
Crystal clear explanations right here !
I subscribe, thanks for the amazing content
Thank you Tristan! I appreciate your comment 🙏
consistently incredible videos, hooked from beginning to end as always ❤️
Cheers Sam! Appreciate your comment 🙏
Amazing job here!
Cheers Eugene!
Looking at this subject deeply at the moment, revisiting this thank you. Running ii Valt I chords through 12 keys, seeking ultimate flexibility. For this I require a default "Alt" chord and a default scale for all chords.
Some insights I have developed in respect to the altered scale.... I have been working on minor ii, VAlt, 1m. Been using a simple locrian scale for the ii chord and a simple Aolian for the I chord and running figures. I am using the altered scale for the V slot.
The altered chord is a very strange beast due to the enharmonic presence in the altered scale, of both the minor third and major third and the lack of a perfect fifth.
For improvisation purposes, I always need a "firm ground" which is a set of notes that are default and instantly available. Once I have established these in my muscle memory, handling modifications is a breeze.
To my ears, the default chord for the VAlt situation is (in C) C E G#. The C and E can be found in most dominant chord situations and the G# adds that tension.
Here is the nub:
Technically, you could use a minor third which is actually the third note of the altered scale. But it does not sound very "dominant". Secondly, the G# is actually the sixth note of the altered scale. So what you are actually playing is a root, a fourth tone and a 6th tone.
Now you can choose to just ignore this, but when you are constructing run fragments between the various chord tones, you can find yourself falling over. Between C and E for example you actually have 4 notes inclusive, not the usual 3 in a myxolydian. Between the #5 and the octave you have three notes whereas in a "normal" Myxolydian situation you would have 4 (inc).
What is required is a new mapping in the head. Here are my observations. 1 it's still fine to use a perfect fifth. 2] You can divide the Alt Scale into three zones - for simplicity. The first zone is from C to E and even if it does have 4 notes inc, then it's easy to drop the Db or the Eb, to make things more in line with tunes. This gives you a three note run between E and G which is more "normal".
The next position is between E and G#. This presents no problems because it has 3 notes (inc) between the E and the pseudo 5th, the same number as major and minor diatonic modes. SO, again instant transposition of a figure from the ii to the Valt is not too much hassle.
The third zone is between the G# and the octave C. The alt scale has only three notes, whereas a major or minor modal situation all has 4 notes. Here the task is to add a chromatic tone.
One final observation: When thinking of diatonic modes I think of three zones, C to E (inc), E, to G (inc) and G to C (inc). In the altered scale because of what I might call the pseudo roles of the fourth masquerading as the major third, and the 6th tone masquerading as a fifth.
This all seems so complicated when written out, but if it is properly absorbed in a relaxed, non-hurried way, it enables the fingers to take melodic fragments from the minor ii and transpose them hyperinstantly to the V alt chord and beyond to the 1 chord.
And yet another masterclass. thank you for sharing all this knowledge in an easy fun way, maestro.
Ah, thanks. Glad you enjoyed it. Cheers for watching and leaving a comment 🙏
Another serious video mate, this channel is on the onwards and upwards. Seriously good content.
Cheers man, hope it was useful! 👍🏼
Thank you for a fantastic explanation of “Steely Dan” chords!😊
Got to love this guy
Cheers Jorge! 👍🏼
Great teaching
Thank you 🙏 I appreciate the kind comment!
finally I get a hang on this ... thank you
You are very welcome! 👍🏼
Really excellent 🎹
Thank you! And thanks for making your way through the other videos too, glad you're liking the content and appreciate the comments and support 🙏
Perfect formula for teaching harmony. Thanks!!!
Cheers Kevin, appreciate the support 🙏
Great structured explanation with practical examples.
Many thanks!
You are very welcome Taras, I appreciate your comment 🙏
Great video sir 🎶🎹
Cheers Lewis, glad you enjoyed it, hope it was useful!
Brilliant teacher. Thank you :-)
Thanks Michael, I appreciate your kind words. Hope the video was useful!
Thank you Michael! You have given me a real light bulb moment! I’m a guitarist not a pianist (I wish I’d had time to learn when I was younger) but I bought a key board to help me understand scales and chords in my retirement (all a bit late now ). Your explanations of the chromatic extensions and how they relate to those posh scales like ‘superlocrian’ etc. was a real eye opener! Subscribed, saved and liked!
Thanks JB, really pleased that you're finding my videos helpful, thanks for the kind comment! 👍
That was an excellent video on altered chords!
Thank you! Glad you liked it, thanks for the comment 🙏
Thank you.
You. Are. Very. Welcome!
Thanks for watching 👍🏼
Thanks for another great video. Off to the piano to experiment now...
You are very welcome, thanks for watching! Happy experimenting!! 🎹🎵
really, really helpful
Great to hear Sean, thanks for the comment 🙏
Smooth and informative. Great education here. Subscribed brother glad to have found you! Cheers 🎹
I'm glad you found me too! Thanks for the sub, glad you enjoyed the video 👍
Awesome dude. !!!! thank YOU. SO. much. a lot cleare now.....thanks. to. YOU. !!!
You are very welcome! Thanks for the great comment. Really glad you found it useful 👍🏼
This is like a perfect mix betweeen ASMR and the most pedagogical music theory explanations imaginable. So good! Thanks!
Ha! Thanks Mattias, I might have to put that quote on my website! Thanks for the comment, really good to hear you enjoyed the video. Cheers. 👍
Good video!
Thank you 🙏
Once again, I'm in over my head but I like it. I know I'll understand eventually because your explanations are very clear. Maybe it'll just take me a few more plays. Thanks, Michael.
Thanks for watching Laura! 🙏
I really like listening to you pondering and thinking about these topics ... because it helps me in my own struggling to understand ... and even more I enjoy your examples how to use the theoretic concepts in real playing (I often miss this part in other tutorials/educational clips) ... a heartfelt thank you from germany ;-)) ... no I have to get back to my piano to experiment on altered scales and chords ...
Hey Manfred! Hi from the UK 👋
Thanks for your nice comment, I’m really pleased my videos are helpful. Happy experimenting!! 🎹🎵
I'm primarily a guitar player and I love these videos--great atmosphere, information, editing, and energy
Awesome! Really pleased to hear you’re enjoying the vids, thanks for the nice comment 🙏
Once again every thing you thought you knew brilliantly set out to help refresh & deepen the understanding. Bought you a posh cappucino as I hope everyone does...Cos it takes time and skill to share quality knowledge ...keep it up with thanks !
Ah mate, that’s so kind. Really appreciate your generosity 🙏 Thanks for coming back to watch more! 👍🏼
Another top rated video. I get so much info and inspiration of out of these. (Might have to watch this one a few times to let all of the points sink in 🤔).
Made me laugh as well!
Hey Ryan, thanks man. Appreciate you coming back to watch. 👍🏼
Thanks!
🙏 Thank you Miguel!
Michael, love the way you explain music. You've opened my eyes ro a lot of stuff and believe it or not, I'm a guitarist.
Ah, thanks James, it's great to hear the videos have been helpful. I've had a few comments from guitarists saying that they're liking the videos, I guess because the piano is such a visual instrument with everything lined out in front of you it's quite accessible. I also usually try to teach things around C major because it's much easier to process if you're not an experienced pianist. Thanks for watching and thanks for the kind comment. It's much appreciated 👍
Insane you’re giving these away for free
The playing at 7.04 😍
I am deep in this stuff but i like this guy 😊. Good stuff
Cheers Koen, glad you’re enjoying the content! 👍🏼
I think I just became your 10,000th subscriber. Although I play guitar, I'm starting piano again after so many decades of not playing. Anyway, thanks a lot, keep up the good work.
Tracy!! Yay, thanks for being the special subscriber!! Best of luck with piano, have you checked out the couple of piano specific videos I’ve made?
Thanks for leaving a comment! 🎹🎵
Super lesson
Ciao dall'Italia
Ciao!! Thanks for watching, glad you enjoyed it. 👍🏼
I really liked this video and how you present the information in an understandable manner.
I like how you point out that people sometimes call different things with the same name, or the same thing with different names.
Ive actually been trying to explain to people why im confused with the major 7th chord being called that. I understand the theory behind it. It is a major chord that also has a major 7th. But I always call these chords minor 6th chords, because they always sound minor to me.
Here's an example a c major 7th chord is c, e, g, b.
An e minor 6th chord is e, g, b, c.
They are literally the same chord.
I've managed to get a few people to see this, and they all tell me "what ever is the lowest note is what you name the chord". But that's not true. If it were the idea of inversions inversions wouldn't exist. To me the major seven chord always sounds like a minor 6 with the sixth in the bass. Just a different inversion of that chord. Not a major chord at all.
Thanks for the comment.
You make a good point, I guess at the end of the day it comes down to the listener, if you’re hearing a major 7 chord as a minor 6 chord in 3rd inversion then that’s true for you. I think I’m in the typical camp of hearing it as a major 7. 👍🏼
These chords just came about for me, in composition
When you stack counterpoint, and every line has its melody
And you want to voice lead, and you start becoming aware of their hypothetical chords on every beat or syncopation,
These chords simply appear in your composition
And when you finally analyze why
You see peculiar inversions of dominant “cadences”
And the line that hits on the #11 may just have chromatic voice leading
You will know you have mastered diatonic voice leading, when you can consciously use these chords in practice
Your music will begin to nearly demand you for such harmony, and you submit to what you hear ahead
😅😅😅great teacher always
Thank you 🙏
Really appreciate your kind comment
Love your channel. As a guitarist may I request you to consider showing the tab of chords when you talk about in different videos about how the content applies to guitar? (I love that you do that btw). Congratulations on a great channel.
Thanks for your comment Dieter, I'm not really a very good guitarist so I don't feel very comfortable talking about guitar with any sort of authority but if in future there is something similar I'll do my best to include it! Cheers!
First, thanks for your response. I love your style of explanation. I was a songwriter who used all of these “color” chords in my songs and charts. They just sounded better.,,,more interesting. I only learned the technical stuff later (I used your description of a #9 as a “Jimi Hendrix” chorus…E7 Hendrix). I am recently retired from the corporate workplace and looking forward to getting back to writing and playing, and I’ve found your videos to be absolutely fantastic! So thank you for that.
Hey David, thanks for the great comment. Good luck with your journey of rediscovery, I’m pleased my videos are a part of it! 🎹🎵
Subscribed
Welcome!
What I understand is that the altered scale essentially alters every single note that is not essential in a dominant scale (mixolydian mode) Therefore we maintain the rooot 3rd and seventh but we add the Common chromatic alteration of dominant chords. Thus why it is usted over dominant altered chords to lead lines
Nailed it! 👍🏼
One weird thing about about altered universes are that the major third is the FOURTH tone of the altered scale.
Yeah, I think ‘properly’ it’s a flatenned fourth but doesn’t make sense to call it that for modern uses IMO.
You and Open Studio are the best channels on CZcams.
Thanks Jonny, that’s very generous. Those guys know a lot more stuff than I do but I’m grateful you’d consider me alongside them. 😳 🙏
@@michaelkeithson In my opinion, you and Open Studio present music theory in the most relatable, comprehensible & useful way to all of us curious musicians who know a bit, played a lot & wish to keep on learning. You've helped me immensely with my journey. Please carry on; you're brilliant, Mate.
@@jonnyroxx7172 Thanks Jonny, really appreciate it 🙏
For this vid, sir, you're getting a sub and a comment.
Thanks man, appreciate the comment and the sub 🙏
Hi thanks for this brilliant tutorial. At the beginning of the video you played a sequence of chords. Can you please share the notes?
As a horn player it's the scale that's of particular interest to me. Instead of thinking of it as a major scale in which 6 notes are flattened it's quicker to think of it as a major scale in which the tonic is raised - C# altered scale is a C scale with a raised tonic. This can be very useful in playing over a cycle of 5ths ..... but there is the danger of it becoming a cliche.
😮 I've never thought about it like that before! Cheers Joe, thanks for sharing 👍
Modern music theory is like modern monetary theory. Just keep printing chords
I'll place a bet : This channel will cross over 30K in 3 months.
Hey David! Thanks for coming back for more! You’re very kind, but I also hope you’re right!! 😂🤣🤞🏼
Hey @Michael Keithson You mentioned you haven't delved into classical music yet when you listed which genres you play. I recommend getting on that. Because you think certain musical ideas come from the wrong places when they were really discovered in classical periods. I was the same as you and didn't really do classical but it was the best decision I ever made. Though, not everybody is the same.
Thanks for the comment. Any recommendations of where I should start?!
Only bad thing about being around near the beginning of a channel getting popular is there isnt nearly enough content for me to devour! I just binged the whole channel over the past 2 days and I need more!!!!
Ha! Thanks for the generous comment. Fear not, I have no intention of stopping anytime soon. I'm doing my best to get a video out every two weeks so you'll have to hold tight and keep coming back! Thanks for watching and the support, much appreciated. Cheers. MK
@michaelkeithson very high quality stuff my friend, on par with the CZcams greats like Adam Neely, David Bruce, and the like! Looking forward what the future brings!
@@amaterasu86 Ah, thanks! It's really nice to hear you think that. Would be great to grow the channel to a similar size, hopefully I can continue to find things to talk about!
On G, it is G Ab Bb Cb Db Eb F.
Don't lose sight of the 7 and proper chord spellings. Music is a system of 7 juxtaposed with 12 and even 17 in a larger sense, possibly further than that at some point.
The G alt chord doesn't seem to be #5 and #9, but rather b6 and b3. Is it not just some way of creating an anticipation of the chord tones in the following chord? It is strange to think of an altered chord as a chord itself.
Your delightful (South London?) accent and phrasing remind me of Tim Roth (aka Pumpkin) in Pulp Fiction. 😊
Ha! My accent is mostly from the East Midlands of the UK but is a pretty generic, bland southern accent. Never lived as far south as London though.
AHA !! Super Locrian eh ? Useful.
Another brilliant video! Here's one thing I might say though Michael, not to be mean or rude or nasty or critical, but to point out the rather gaunt elephant in the room:
It's probably time to euthanize the quiff. Let's just say the quiff is no longer a B♯7♯9♯11, but a mere F major triad. It's trying it's best up there, but it seems to lack some support. Although you do you of course!
PS. I'm subscribing because I think this channel is 10/10
Ouch! Possibly my favourite comment ever 🤣😂 I’ve always struggled find haircut that’s suits and is manageable - any suggestion for the next barnet?!
Probably gonna take more than one comment to do something about it though - maybe start a petition, if you gets enough signatures I’ll change it!! 😂
@@michaelkeithson I think an 8 mm buzz would do the trick. It's the look that says "I'm a 36, married, have two kids and a border collie, and I'm working as a professional musician". It's a solid grown-up handsome dad look! 😂♥
@@niamhoconnor8986 😂🤣👍🏼
I love this channel. and have for awhile now. wondering if you had a discord or planning on starting one?
Hey Dre! Thanks for the comment, really pleased you’re enjoying the content. I’m not very familiar with Discord, I thought it was something for gamers (which I’m not), but would definitely be up trying it if it might help build the community. Maybe I should look into it.
@@michaelkeithson I thought the same, but it’s just a way for one to have a forum, for whatever the medium
He teaches with dramatic tension and release, by leaning in and whispering questions and uncertainties :) 4:37
🤣😂 Love it!
Love yours vids, can you please do a video about negative harmony 🫨
Cheers man, glad you're enjoying the content. Negative harmony is somewhere on my list I think! Thanks for watching 👍
Great video one thing to note though is that rock is a black genre it’s derived from blues and while a lot of the more famous bands are white it was made by black musicians
Don't stop to explain theory music please. Could you help me to understand well the funtion chord scale ? 😊
interesting...as far as I know, it's the core of dominant chord (1 3 b7) with some messing around, but honoring the melody. Also in your superlocrian scale, the 5 disappear :/ What do you think?
By the way, still the best channel to follow today :)
I double checked your Galt during the playing and you also don't play the 5 😁
Yeah, you’re right, I never include the 5th in an altered chord. I guess I should have pointed that out. It’s really a shell voicing of a dom7 chord (1,3,7) with chromatic extensions.
Cheers for the comment mate and thanks for watching. 👍🏼
b9 in response to an altered symbol? MY take has always been #4, #5, a whole-tone scale. This has never let me down (though my performance may have done...)😎
Thanks for your comment David. I feel like the altered scale/diminished whole-tone/superlocrian is possibly the most common choice but there are plenty of options of these kinds of dominants. I can't say I'm a big fan of the whole-tone sound in general and if we're including a b9 and #9 like I'm tending to use in these examples then the whole tone isn't particularly suitable, although I think you could potentially get away with anything over these altered chords (depending on the context).
Your explanation are clear.amazing teacher.but Im must translate a few words on google.😅
Hey Djoko, thanks for your comment. If you can understand more than one language then you've already impressed me! Feels so cool to me that there might be people watching from faraway lands! Where are you located?
Indonesia.i can read and speak english just simple thing.its ok...thanks Keith
@@djokowitjaksono3371 Awesome! Hello from the UK!
Based on what I understand from a certain group, an altered chord is any chord that identifies as an altered chord.
Well how can you argue with that!!
bravo
Hey man, thanks for another comment, appreciate it!
This video was using the Felt piano preset from Pianoteq8 plug-in although I think most of the previous videos have been the sound direct from the Nord Stage.
Jazz is a slow build, I think there’s also slow transition from the brain to the fingers, sometimes you can know it well in your head but getting comfortable under your takes a little more time. It’s worth persisting but try to enjoy the process. Really valuable to start playing with other musicians if you get the chance, find a jam night or a bass player and drummer to get together with regularly, it’ll definitely speed up the process.
Thanks for the comment buddy 👍🏼
What do we do with the 5? I thought a +5 or -5 were in place of the 5 but a +11 or -13 were in addition to it.
Thanks for your comment Paul.
You can do what you like with the 5th in my opinion. These are tools but not unbreakable rules. The premise of 'chord scale theory' is that for your particular chord voicing there should be a scale that incorporates those notes. Typically on an Altered chord musicians don't use the natural 5th when they're including a b13 or #11. If your voicing has a #9 and b13 then the altered scale will include those tones (along with the 3rd and 7th) so you can be sure that if you're using the altered scale to improvise, all those chord tones will be included in the harmony being played.
However, chord scale theory is only one device that can be employed as part of improvisation technique, a big part of jazz improvisation, for example, is chromatic approach tones so if you were to include the fifth in your lines along with the altered scale it wouldn't sound inappropriate. I hope that helps 😁!
In terms of the nomenclature of the chord tones I think that's potentially a can of worms, my experience is that people use b5 #11 and #5 b13 interchangeably and there doesn't seem to be a typical convention that most people stick to. I think this has something to do with the way modern music theory has developed over the last hundred years with most modern music styles (jazz, blues, rock, pop, funk...etc) being created and learned outside of educational institutions and by word of mouth. People learn and assimilate knowledge in way that helps them best understand it in the context of the music they're playing along with a loose affiliation to traditional music theory that doesn't always fit neatly into the box of modern music. That's my thoughts anyway, I'm sure there are people who disagree.
Is this part of why jazzers drop the 5th so much when voicing dominant chords? It looks like it would clash with that b13 (#5).
Hey Daniel, thanks for the comment. I think it's part of the reason, but I think possibly one of the main reasons though is that the fifth is a bit of an invisible chord tone, it doesn't tend to add much colour and jazzers are keen to add colour and tension to their chords. With so many possible chord extensions available for a dominant chord it's pretty rare to see a jazzer choose a perfect 5th in their chord rather than including something more interesting that introduces more tension. Cheers
Can you talk a bit more about how to apply these in an example song.
When they do/don’t work.
Hey Daniel, thanks of the comment. I think I touched on it a bit in the video, it kind of depends on the style of music you're playing and how much of that tension you want to add. Theoretically I reckon you could get away with turning every dominant 7 chord into an Altered chord in some settings but I think it's best used every now and again. Using it on the V chord of a minor ii-V-i is really common (which is a really common progression in standard jazz repertoire).
There are probably a couple of times to maybe avoid it, which is when the V chord is a tritone sub or a backdoor dominant.
I know that's a bit vague but I suggest throwing a few in next time you're playing and see if you like or not - experiment!
Hope that helps a bit.
Curious what instrument (piano VST) you’re playing?
Hey Brian I think it was the Felt piano setting on the Pianoteq 8 plug-in.
@@michaelkeithson ah, I suspected a felt, but thought maybe NI Noire. Very nice and smooth, cheers.
I just discovered that an altered chord share the same note of a sus flat 9 chord. If take the root note, pitch It down a tone, and u built the sus flat 9 chord from there, and but the 5 of the Key on the bass u get and altered. Am I wrong?
Yeah totally, but there’s more! If you take the rootless Galt voicing I play in the video (F Bb B Eb) - with a G in the bass it’s a G alt, with a Bb in the bass it’s a Bb7sus b9 (as you mentioned - also known as a Phrygian chord) but also if you put a Db in the bass it’s a Db13 voicing AND… put an F in the bass and you have a voicing for a Fm7b5 (with a sus4). So one voicing shape can give you four cool chords depending on the bass note!! Love it!