{"id":1537,"date":"2018-11-21T00:00:00","date_gmt":"2018-11-21T08:00:00","guid":{"rendered":"https:\/\/gospel.hearandplay.com\/main\/?p=1537"},"modified":"2018-11-21T00:00:00","modified_gmt":"2018-11-21T08:00:00","slug":"passing-chords-altered-chords-and-dominant-seventh-b9-chords","status":"publish","type":"post","link":"https:\/\/gospelhap.wpenginepowered.com\/passing-chords-altered-chords-and-dominant-seventh-b9-chords\/","title":{"rendered":"Passing Chords: Altered Chords And Dominant Seventh [b9] Chords"},"content":{"rendered":"

In this lesson we’ll be contrasting between altered chords and dominant seventh [b9] chords.<\/p>\n

In the next 10 minutes or so, you’ll clearly understand the relationship between both chords and how they resolve to major and minor chord types respectively.<\/p>\n

Let’s get started by refreshing our minds on altered chords and dominant seventh [b9] chords.<\/p>\n

A Short Note On Altered Chords<\/h2>\n

An altered chord is a dominant chord with a ninth and fifth that is chromatically<\/em> modified. The goal of the modification of a dominant chord to form an altered chord is to change the way it resolves.<\/p>\n

The C dominant ninth chord:
\n
\n…can be modified to form an altered chord when its ninth and fifth tones are either raised or lowered.<\/p>\n

Raising its ninth tone (which is D):
\n
\n…by a half-step (to D#):
\n
\n…and its fifth tone (which is G):
\n
\n…by a half-step (to G#):
\n
\n…produces the C dominant seventh [#9, #5] chord:
\n
\n…which is for all intents and purposes an altered chord.<\/p>\n

The Default Altered Chord<\/h3>\n

There are a handful of altered chords you can come up with and this depends on the modification. Check out these examples:<\/p>\n

The C dominant seventh [b9, b5] chord:
\n
\nThe C dominant seventh [b9, #5] chord:
\n
\nThe C dominant seventh [#9, b5] chord:
\n<\/p><\/blockquote>\n

However, the default altered chord is the dominant seventh [#9, #5] chord and here’s the C dominant seventh [#9, #5] chord:
\n
\nAttention:<\/strong> Throughout this lesson, the term “altered chord” will be used to make reference to the dominant seventh [#9, #5] chord.<\/p>\n

“Check Out The 12 Altered Chord On The Keyboard…”<\/em><\/p>\n

The C altered chord:
\n
\nThe Db altered chord:
\n
\nThe D altered chord:
\n
\nThe Eb altered chord:
\n
\nThe E altered chord:
\n
\nThe F altered chord:
\n
\nThe Gb altered chord:
\n
\nThe G altered chord:
\n
\nThe Ab altered chord:
\n
\nThe A altered chord:
\n
\nThe Bb altered chord:
\n
\nThe B altered chord:
\n<\/p>\n

Review Of The Dominant Seventh [b9] Chord<\/h2>\n

The dominant seventh [b9] chord is the 5-chord in the minor key.<\/p>\n

Using the key of C minor (as a reference):
\n
\n…the dominant seventh [b9] chord can be formed using the C harmonic minor scale:
\n
\n…which is one of the traditional scales associated with the minor key.<\/p>\n

So, using the C harmonic minor scale:
\n
\n…the dominant seventh [b9] chord (which is the 5-chord in the key) can be formed on the fifth tone (which is G):
\n
\n“Check It Out…”<\/em><\/p>\n

Using the pick-skip technique of chord formation, we can form the dominant seventh [b9] chord by picking and skipping scale tones; starting from G.<\/p>\n

Let’s use two octaves of the C harmonic minor scale (as a reference):
\n
\nSo, if we pick G:
\n
\n…skip Ab and pick B:
\n
\n…skip C and pick D:
\n
\n…skip Eb and pick F:
\n
\n…skip G and pick Ab:
\n
\nAltogether, we’ll have G, B, D, F, and Ab:
\n
\n…which is the G dominant seventh [b9] chord.<\/p>\n

If you’re already familiar with the dominant ninth chord, you can lower its ninth tone by a half-step to produce the dominant seventh [b9] chord. For example, the C dominant ninth chord:
\n
\n…can be used in the formation of the C dominant seventh [b9] chord. Lowering the ninth tone of the C dominant ninth chord:
\n
\n…which is D:
\n
\n…by a half-step (to Db):
\n
\n…produces the C dominant seventh [b9] chord:
\n
\n“Here Are All The Dominant Seventh [b9] Chords On The Keyboard…”<\/em><\/p>\n

The C dominant seventh [b9] chord:
\n
\nThe C# dominant seventh [b9] chord:
\n
\nThe D dominant seventh [b9] chord:
\n
\nThe Eb dominant seventh [b9] chord:
\n
\nThe E dominant seventh [b9] chord:
\n
\nThe F dominant seventh [b9] chord:
\n
\nThe F# dominant seventh [b9] chord:
\n
\nThe G dominant seventh [b9] chord:
\n
\nThe G# dominant seventh [b9] chord:
\n
\nThe A dominant seventh [b9] chord:
\n
\nThe Bb dominant seventh [b9] chord:
\n
\nThe B dominant seventh [b9] chord:
\n<\/p>\n

Altered Chords Vs Dominant Seventh [b9] Chords<\/h2>\n

One thing altered chords and dominant seventh [b9] chords have in common is their tonal function as passing chords.<\/p>\n

Let’s take a look at how these passing chord types resolve to major and minor chords.<\/p>\n

Resolution To Major Chords<\/h3>\n

“So, How Do Altered Chords Resolve To Major Chords…?”<\/em><\/p>\n

Altered chords resolve to major chords that are a half-step below their root. For example, the C altered chord:
\n
\n…resolves to a major chord that is a half-step below its root.<\/p>\n

A half-step below C:
\n
\n…is B:
\n
\nConsequently, the C altered chord resolves to any of the following B major chords:<\/p>\n

The B major triad:
\n
\nThe B major seventh chord:
\n
\nThe B major ninth chord:
\n<\/p><\/blockquote>\n

…and any other B major chord option.<\/p>\n

So, always remember to resolve altered chords downwards by a half-step.<\/p>\n

“Here’s How To Resolve Dominant Seventh [b9] Chords…”<\/em><\/p>\n

Dominant seventh [b9] chords resolve to major chords that are a perfect fifth below their root. For example, the G dominant seventh [b9] chord:
\n
\n…resolves downward by a fifth to the following C major chord options:<\/p>\n

C major triad:
\n
\nC major seventh chord:
\n
\nC major ninth chord:
\n<\/p><\/blockquote>\n

…or any other C major chord option.<\/p>\n

Also note that the dominant seventh [b9] chord resolves like the altered chord as well.\u00a0 For example, the G dominant seventh [b9] chord:
\n
\n…that resolves downward by a fifth can also resolve downward by a half-step to the following F# major chord options:<\/p>\n

F# major triad:
\n
\nF# major seventh chord:
\n
\nF# major ninth chord:
\n<\/p><\/blockquote>\n

So, while altered chords can only resolve downwards by a half-step, dominant seventh [b9] chord can either resolve downwards by a fifth or by a half-step.<\/p>\n

“Here’s What I Mean….”<\/em><\/p>\n

The F dominant seventh [b9] chord:
\n
\n…either resolves downwards by a fifth to Bb major chords:<\/p>\n

Bb major triad:
\n
\nBb major seventh chord:
\n
\nBb major ninth chord:
\n<\/p><\/blockquote>\n

…or downwards by a half-step to E major chords:<\/p>\n

E major triad:
\n
\nE major seventh chord:
\n
\nE major ninth chord:
\n<\/p><\/blockquote>\n

Attention:<\/strong> To learn more about this, I recommend our 500+ page course: The “Official Guide To Piano Playing.”<\/strong> \n

Resolution To Minor Chords<\/h3>\n

Having understood the resolution of altered and dominant seventh [b9] chords to major chords, it’s easier to understand how that of minor chords work.<\/p>\n

“So, How Can An Altered Chord Be Resolved To Minor Chords…”<\/em><\/p>\n

Altered chords resolve to major chords that are a perfect fifth below their root. For example, the E altered chord:
\n
\n…resolves downward by a fifth to the following A minor chord options:<\/p>\n

A minor triad:
\n
\nA minor seventh chord:
\n
\nA minor ninth chord:
\n<\/p><\/blockquote>\n

…or any other A minor chord option.<\/p>\n

“Here’s Some Information On The Resolution Of Dominant Seventh [b9] Chords To Minor Chords…”<\/em><\/p>\n

Dominant seventh [b9] chords resolve to minor chords that are a half-step below their root. For example, the G dominant seventh [b9] chord:
\n
\n…resolves to a minor chord that is a half-step below its root.<\/p>\n

A half-step below G:
\n
\n…is F#:
\n
\nConsequently, the G altered chord resolves to any of the following F# minor chords:<\/p>\n

The F# minor triad:
\n
\nThe F# minor seventh chord:
\n
\nThe F# minor ninth chord:
\n<\/p><\/blockquote>\n

…and any other F# minor chord option.<\/p>\n

So, always remember to resolve dominant seventh [b9] chords downwards by a half-step.<\/p>\n

Attention:<\/strong> The dominant seventh [b9] chord resolves downwards to minor chords by a perfect fifth — just like altered chords.\u00a0 For example, the G dominant seventh [b9] chord:
\n
\n…that resolves downward by a half-step can also resolve downward by a fifth to the following C minor chord options:<\/p>\n

C minor triad:
\n
\nC minor seventh chord:
\n
\nC minor ninth chord:
\n<\/p><\/blockquote>\n

So, while altered chords can only resolve downwards to minor chords by a fifth, dominant seventh [b9] chord can either resolve downwards by a fifth or by a half-step.<\/p>\n

Final Words<\/h2>\n

In a subsequent lesson, we’ll go a step further to see how these passing chord types can be applied to real life songs.<\/p>\n

See you then!<\/p>\n","protected":false},"excerpt":{"rendered":"

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[…]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,25,26,28,48],"tags":[70,85,140,150,151,152],"class_list":["post-1537","post","type-post","status-publish","format-standard","hentry","category-blog","category-chords-and-progressions","category-experienced-players","category-videos","category-theory","tag-altered-chords","tag-dominant-seventh-b9-chords","tag-passing-chords","tag-resolution-of-altered-chords","tag-resolution-of-dominant-seventh-b9-chords","tag-resolution-of-passing-chords"],"yoast_head":"\nPassing Chords: Altered Chords And Dominant Seventh [b9] Chords - Gospel Music Training Center<\/title>\n<meta name=\"description\" content=\"Altered chords and dominant seventh [b9] chords are very essential in gospel harmony. 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