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An altered dominant chord is, "a dominant triad of a 7th chord that contains a raised or lowered fifth and sometimes a lowered 3rd." [17] According to Dan Haerle, "Generally, altered dominants can be divided into three main groups: altered 5th, altered 9th, and altered 5th and 9th."
In jazz, the altered scale, altered dominant scale, or super-Locrian scale (Locrian ♭ 4 scale) is a seven-note scale that is a dominant scale where all non-essential tones have been altered. This means that it comprises the three irreducibly essential tones that define a dominant seventh chord , which are root, major third, and minor seventh ...
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.
The most common extended dominant chord is the tertiary dominant, [citation needed] which resolves to a secondary dominant. For example, V/V/V (in C major, A (7) ) resolves to V/V (D (7) ), which resolves to V (G (7) ), which resolves to I. Note that V/V/V is the same chord as V/ii, but differs in its resolution to a major dominant rather than ...
The altered dominant scale, also called the altered scale, is so named because all the scale members that can be altered relative to the basic dominant scale (the Mixolydian mode), without losing the dominant quality, are altered. The scale includes both altered fifths (♭ 5 and ♯ 5) and both altered ninths (♭ 9 and ♯ 9).
Pages in category "Altered chords" The following 4 pages are in this category, out of 4 total. ... Altered chord; D. Dominant seventh flat five chord;
The suspended fourth chord is often played inadvertently, or as an adornment, by barring an additional string from a power chord shape (e.g., E5 chord, playing the second fret of the G string with the same finger barring strings A and D); making it an easy and common extension in the context of power chords.
This scale is commonly used to improvise over an altered dominant chord. In the section on basic dominant chords, it was noted that the perfect fifth is often omitted. By altering it with a diminished fifth (♭ 5) or augmented fifth (♯ 5), extra tension and dissonance is added, which strengthens the resolution to the I chord. [6]