Editing Altered chord (section)

== Altered dominant chord ==
An altered dominant chord is, "a dominant triad of a 7th chord that contains a raised or lowered fifth and sometimes a lowered 3rd."<ref name="B&S">Benward, Bruce; Saker, Marilyn (2009). "Glossary", ''Music in Theory and Practice'', Vol. II, p. 355. {{ISBN|978-0-07-310188-0}}</ref> According to Dan Haerle, "Generally, altered dominants can be divided into three main groups: altered 5th, altered 9th, and altered 5th and 9th."<ref name="Haerle">[[Dan Haerle|Haerle, Dan]] (1983). ''Jazz Improvisation for Keyboard Players'', Book two, p. 2.19. Alfred Music. {{ISBN|9780757930140}}</ref> This definition allows three to five options, including the original:

{|
|
*C{{sup|7}}: C–E–G–B{{music|b}}
*C{{sup|7{{music|b}}5}}: C–E–G{{music|b}}–B{{music|b}}
*C{{sup|7{{music|#}}5}}: C–E–G{{music|#}}–B{{music|b}}
*(C{{music|halfdim}}{{sup|7}}: C–E{{music|b}}–G{{music|b}}–B{{music|b}})
*(Cm{{sup|7{{music|#}}5}}: C–E{{music|b}}–G{{music|#}}–B{{music|b}})
! style="width: 50px;" |
|<score lang="lilypond"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <c e g bes>1_\markup { \concat { "C" \raise #1 \small "7" } }
   <c e ges bes>_\markup { \concat { "C" \raise #1 \small { "7(♭5)" } } }
   <c e gis bes>_\markup { \concat { "C" \raise #1 \small { "7(♯5)" } } }
   <c es ges bes>_\markup { \concat { "C" \raise #1 \small { "ø7" } } }
   <c es gis bes>_\markup { \concat { "Cm" \raise #1 \small { "7(♯5)" } } }
} }
</score>
|}

Alfred Music gives nine options for altered dominants,<ref name="Alfred" /> the last four of which contain two alterations each:<ref name="Baerman2000" /><ref name="Baerman74">Baerman (1998), p. 74.</ref>
{|
|
*C{{sup|7}}: C–E–G–B{{music|b}}
*C{{sup|7{{music|b}}5}}: C–E–G{{music|b}}–B{{music|b}}
*C{{sup|7{{music|#}}5}}: C–E–G{{music|#}}–B{{music|b}}
*C{{sup|7{{music|b}}9}}: C–E–G–B{{music|b}}–D{{music|b}}
*C{{sup|7{{music|#}}9}}: C–E–G–B{{music|b}}–D{{music|#}}
*C{{sup|7{{music|b}}5{{music|b}}9}}: C–E–G{{music|b}}–B{{music|b}}–D{{music|b}}
*C{{sup|7{{music|#}}5{{music|#}}9}}: C–E–G{{music|#}}–B{{music|b}}–D{{music|#}}
*C{{sup|7{{music|b}}5{{music|#}}9}}: C–E–G{{music|b}}–B{{music|b}}–D{{music|#}}
*C{{sup|7{{music|#}}5{{music|b}}9}}: C–E–G{{music|#}}–B{{music|b}}–D{{music|b}}
! style="width: 50px;" |
|<score lang="lilypond"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <c e g bes>1_\markup { \concat { "C" \raise #1 \small "7" } }
   <c e ges bes>_\markup { \concat { "C" \raise #1 \small { "7(♭5)" } } }
   <c e gis bes>_\markup { \concat { "C" \raise #1 \small { "7(♯5)" } } }
   <c e g bes des>_\markup { \concat { "C" \raise #1 \small { "7(♭9)" } } }
   <c e g bes dis>_\markup { \concat { "C" \raise #1 \small { "7(♯9)" } } }
} }
</score><br /><score lang="lilypond"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <c e ges bes des>1_\markup { \concat { "C" \raise #1 \small { "7(♭5♭9)" } } }
   <c e gis bes dis>_\markup { \concat { "C" \raise #1 \small { "7(♯5♯9)" } } }
   <c e ges bes dis>_\markup { \concat { "C" \raise #1 \small { "7(♭5♯9)" } } }
   <c e gis bes des>_\markup { \concat { "C" \raise #1 \small { "7(♯5♭9)" } } }
} }
</score><br />
|}

Pianist [[Noah Baerman]] writes that "The point of having an altered note in a dominant chord is to build more tension (leading to a correspondingly more powerful [[Resolution (music)|resolution]])."<ref name="Baerman2000">[[Noah Baerman|Baerman, Noah]] (2000). ''Jazz Keyboard Harmony'', p. 40. Alfred Music. {{ISBN|9780739011072}}</ref>