Brad I agree with you.?? The V7altered is using the bII7,9,#11,13
over
the V7 chord and is based on the tri-tone sub.
If no where else this was standardized at the Berklee School of
Music by the late '60's.
The most common scale used to play over it is the Melodic Minor Scale
one half step above the root of the V7 Chord.? So
V7 in D???? A7,b9,#9,b5,#5?? or altered
bII7?????????? Eb7,9,#11,13
bVIminor?? Bb Melodic Minor
Scale tones:????? A????
Bb?? C?? Db(c#)?? Eb?? F??
G??? A
A7??????????????????
root? b9?? #9?? 3??????????
b5?? #5? b7
Eb7????????????????
#11?? 5???? 6??? b7????????
root? 9??? 3
There is a whole tone scale Db(c#)? Eb(d#)? F? G??
A
B natural will complete it.??? Also very common.
I really just play the bII chord and let the bass player play V or bII.
So if reading charts I have to interpret.
There are others that see the altered V7 as any of the altered tones
not always
all of them which leads to other sounds like A13b9.? More like
a Bb diminished
scale.? But V7alt at one time was defined as all the altered tones.?
All 4 of them.
?
?
Brad Rabuchin wrote:
MPetra7790@... wrote:
> I am hoping to gain some insight on the whole altered chord situation.
>???? Feel free to share music and examples.
>?????????? Thank
you,
>??????????????
PEACE out,
>???????????????????
Matthew
Matthew,
The subject of Altered chords is quite a can-of-worms, and a broad subject
as well. From talking to, and especially listening to how various players
approach altered chords, I've witnessed many different(and sometimes
conflicting)concepts of which, where and how often altered chords &
scales
are used. And how a player uses this altered stuff, I believe, goes
along
way to determining their individual style-ie..altered harmony is often
the
"spice" used to color the chords or solos in a tune.
That said, here's one idea to start with:
Notice the relationship between dominant chords a b5(tri-tone) apart.
for example: A7=Eb7b5 b9(no root)? or the opposite; Eb7=A7b9b5
? {A7 is spelled A,C#,E,G = Eb7b5b9(no root) is; G, Bbb(A),Db(C#)&Fb(E)
A little complicated, but the point is you can get 7b5b7 chord voicings
by
playing straight dominant 7th(or just triads) a b5 away.
So, for instance, on a Bb jazz blues whose first 4 bars? might
be written:
Bb7? /? Eb7 / Bb7 / Bb7 /????? you
could play:??? Bb7 / Eb7 / Bb7 / E7 /
and with the bass player probably playing that fourth bar as?
a Bb7 it would
come out sounding like a Bb7b5b9.
What the rest of you guys have to add?
Brad
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