Editing Altered chord (section)

== Altered seventh chord<!--[[Altered seventh chord]] redirects directly here.--> ==
{{Image frame|content=<score sound="1" override_midi="Chopin - Sonata, Op. 35, I augmented seventh chord.mid">
    {
      \new PianoStaff <<
        \new Staff <<
            \new Voice \relative c'' {
                \set Score.currentBarNumber = #109
                \bar ""
                \clef treble \key bes \minor \time 2/2
                \override DynamicLineSpanner.staff-padding = #2.5
                \voiceOne a2(\< ais b4.\> d,8 d2)\!
                }
            \new Voice \relative c' {
                \clef treble \key bes \minor \time 2/2
                \voiceTwo <c d>1 b1
                }
            \new Voice \relative c' {
                \clef treble \key bes \minor \time 2/2
                \voiceTwo d1~ \stemUp d4.
                }
            >>
        \new Staff <<
            \new Voice \relative c {
                \clef bass \key bes \minor \time 2/2
                fis2\sustainOn_( d, <g d' g>1\sustainOff\sustainOn)
                }
            >>
    >> }
</score>|width=320|caption=An altered [[dominant seventh chord]] arising from voice leading in the first movement of [[Chopin]]'s [[Piano Sonata No. 2 (Chopin)|Piano Sonata No. 2, Op. 35]]<ref name="Harmony">[[Edward Aldwell|Aldwell, Edward]]; [[Carl Schachter|Schachter, Carl]]; and Cadwallader, Allen (2010). ''Harmony & Voice Leading'', p. 601. {{ISBN|9780495189756}}.</ref> Here a D dominant seventh chord changes to D dominant seventh with an augmented fifth – D7(#5) – which then resolves to a G major triad.}}
An altered seventh chord is a [[seventh chord]] with one, or all,<ref name="Davis">Davis, Kenneth (2006). ''The Piano Professor Easy Piano Study'', p. 78. {{ISBN|9781430303343}}.</ref> of its [[factor (chord)|factors]] raised or lowered by a semitone (altered), for example, the [[augmented seventh chord]] (7+ or 7+5) featuring a raised fifth (C E G{{music|sharp}} B{{music|flat}} <ref>Christiansen, Mike (2004). ''Mel Bay's Complete Jazz Guitar Method, Volume 1'', p. 45. {{ISBN|9780786632633}}.</ref> (C<sup>7+5</sup>: C–E–G{{music|#}}–B{{music|b}}). The factors most likely to be altered are the fifth, then the ninth, then the thirteenth.<ref name="Davis" /> In classical music, the raised fifth is more common than the lowered fifth, which in a [[dominant chord]] adds [[Phrygian mode|Phrygian]] flavor through the introduction of {{nowrap|{{music|b}}{{music|scale|2}}}}.<ref name="Harmony">[[Edward Aldwell|Aldwell, Edward]]; [[Carl Schachter|Schachter, Carl]]; and Cadwallader, Allen (2010). ''Harmony & Voice Leading'', p. 601. {{ISBN|9780495189756}}.</ref>
{{Clear}}