Editing Altered chord

{{Short description|Musical terminology}}
{{For|similar terms|Alteration (disambiguation)|Modification (disambiguation){{!}}Modification}}
{{Distinguish|Leading tone}}
{{Image frame|content=<score lang="lilypond"> {
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <g b d>1^\markup { \tiny "Unaltered V"} <gis b des>^\markup { \tiny "Altered V"} \bar "||"
} }
</score>|width=210|caption=An altered dominant chord in C major<ref name="Erickson"/>}}

An '''altered chord''' is a [[chord (music)|chord]] that replaces one or more notes from the [[diatonic scale]] with a neighboring pitch from the [[chromatic scale]]. By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of [[borrowed chord]]s, chords borrowed from the [[parallel key]], and the most common is the use of [[secondary dominant]]s. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord."<ref>Blatter, Alfred (2007). ''Revisiting Music Theory: A Guide to the Practice'', p. 186. {{ISBN|0-415-97440-2}}.</ref>

For example, altered notes may be used as [[leading tone]]s to emphasize their diatonic neighbors. Contrast this with [[Extended chord|chord extensions]]:

{{blockquote|Whereas chord extension generally involves adding notes that are logically implied, chord alteration involves changing some of the typical notes. This is usually done on [[dominant chord]]s, and the four alterations that are commonly used are the {{music|b}}5, {{music|#}}5, {{music|b}}9 and {{music|#}}9. Using one (or more) of these notes in a resolving dominant chord greatly increases the bite in the chord and therefore the power of the [[resolution (music)|resolution]].<ref>[[Noah Baerman|Baerman, Noah]] (1998). ''Complete Jazz Keyboard Method: Intermediate Jazz Keyboard'', p. 70. {{ISBN|0-88284-911-5}}.</ref>|sign=|source=}}

In [[jazz harmony]], chromatic alteration is either the addition of notes not in the scale or expansion of a [chord] progression by adding extra non-diatonic chords.<ref name="Arkin">Arkin, Eddie (2004). ''Creative Chord Substitution for Jazz Guitar'', p. 42. {{ISBN|0-7579-2301-1}}.</ref> For example, "A C major scale with an added D{{music|sharp}} note, for instance, is a chromatically altered scale" while, "one bar of C<sup>maj7</sup> moving to F<sup>maj7</sup> in the next bar can be chromatically altered by adding the ii and V of F<sup>maj7</sup> on the second two beats of bar" one. Techniques include the [[ii–V–I turnaround]], as well as movement by half-step or minor third.<ref name="Arkin 43">Arkin (2004), p. 43.</ref>

:[[File:Altered_chord_progression_jazz.png|frameless|400x400px]]

The five most common types of altered dominants are: V{{music|+}}, V{{sup|7}}<sup>{{music|sharp}}5</sup> (both with raised fifths), V{{sup|{{music|b}}5}}, V{{sup|7}}<sup>{{music|flat}}5</sup> (both with lowered fifths), and V{{music|halfdim}}{{sup|7}} (with lowered fifth and third, the latter enharmonic to a raised ninth).<ref>Benward and Saker (2009), p. 193.</ref>

==Background==
{{Image frame|content=<score sound="1"> {
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   <c e g>1 <bes d f> <aes c es> <bes d f> <c e! g> \bar "||"
} }
</score>|width=345|caption=Chord progression with chords borrowed from the [[parallel minor]]}}
"Borrowing" of this type appears in music from the [[Renaissance music]] era and the [[Baroque music]] era (1600–1750)—such as with the use of the [[Picardy third]], in which a piece in a minor key has a final or intermediate cadence in the tonic major chord. "Borrowing" is also common in 20th century [[popular music]] and [[rock music]].

For example, in music in a major key, such as C major, composers and songwriters may use a B{{music|b}} major chord, that they "borrow" from the key of C minor (where it is the VII chord). Similarly, in music in a minor key, composers and songwriters often "borrow" chords from the tonic major. For example, pieces in C minor often use F major and G major (IV and V chords), which they "borrow" from C major.

More advanced types of altered chords were used by [[Romantic music]] era composers in the 19th century, such as [[Chopin]], and by [[jazz]] composers and improvisers in the 20th and 21st century. For example, the [[chord progression]] on the left uses four unaltered chords, while the progression on the right uses an altered IV chord and is an alteration of the previous progression:<ref name="Erickson">[[Robert Erickson|Erickson, Robert]] (1957). ''The Structure of Music: A Listener's Guide'', p. 86. New York: Noonday Press. {{ISBN|0-8371-8519-X}} (1977 edition).</ref>

:{|
|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 3/4
             c4 c b c2.
             }
         \new Voice \relative c' {
             \stemDown
              e4 f d e2.
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 3/4
             g4 a g g2.
             }
         \new Voice \relative c {
             \stemDown
             c4_\markup { \concat { "I" \hspace #1.5 "IV" \hspace #1 "V" \hspace #3.5 "I" } } f g c,2. \bar "||"
             }
         >>
    >>
</score>
|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 3/4
             c4 c b c2.
             }
         \new Voice \relative c' {
             \stemDown
              e4 f d e2.
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 3/4
             g4 aes g g2.
             }
         \new Voice \relative c {
             \stemDown
             c4_\markup { \concat { "I" \hspace #1.5 "iv" \hspace #1.5 "V" \hspace #3.5 "I" } } f g c,2. \bar "||"
             }
         >>
    >>
</score>
|}

The A{{music|b}} in the altered chord serves as a [[leading tone]] to G, which is the [[root (chord)|root]] of the next chord.

{{Blockquote|The object of such foreign tones is: to enlarge and enrich the scale; to confirm the melodic tendency of certain tones...; to contradict the tendency of others...; to convert inactive tones into active [leading tones]...; and to affiliate the keys, by increasing the number of [[common tone (scale)|common tone]]s.<ref name="Goetschius"/>}}
{{Image frame|content=<score sound="1" override_midi="Franck - Symphonic Variations augmented seventh chord.mid">
    {
      \new PianoStaff <<
        \new Staff <<
            \relative c'' {
                \clef treble \key fis \minor \time 3/4
                r8. <g a cis eis>16 <g a cis eis>8. <fis d' fis>16
                <fis d' fis>4 r8. <d fis d'>16 <d fis d'>8. <a' c dis a'>16
                <a c dis a'>4
                }
            >>
        \new Staff <<
            \new Voice \relative c, {
                \clef bass \key fis \minor \time 3/4
                r8. <a a'>16 <a a'>8. <d d'>16
                <d d'>4 r8. <d d'>16 <d d'>8. <fis, fis'>16
                <fis fis'>4
                }
            >>
    >> }
</score>|width=390|caption=The augmented fifth often appears in the soprano [[part (music)|voice]], as here in [[César Franck|Franck]]'s ''[[Symphonic Variations (Franck)|Symphonic Variations]]''.<ref name="Harmony">[[Edward Aldwell|Aldwell, Edward]]; [[Carl Schachter|Schachter, Carl]]; and Cadwallader, Allen (2010). ''Harmony & Voice Leading'', p. 601. {{ISBN|9780495189756}}.</ref>}}

According to one definition, "when a chord is chromatically altered, and the thirds remain large [major] or small [minor], and is not used in [[modulation (music)|modulation]], it is an altered chord."<ref>Bradley, Kenneth McPherson (1908). ''[https://books.google.com/books?id=7ucsAAAAYAAJ&dq=%22altered+chord%22&pg=PA119 Harmony and Analysis]'', p. 119. C. F. Summy. {{pre-ISBN}}</ref> According to another, "all chords...having a major third, i.e., either triads, sevenths, or ninths, with the fifth chromatically raised or chromatically lowered, are altered chords," while triads with a single altered note are considered, "changes of form {{bracket|[[chord quality|quality]]}}," rather than alteration.<ref>Norris, Homer Albert (1895). ''[https://books.google.com/books?id=FMYPAAAAYAAJ&dq=%22altered+chord%22&pg=RA2-PA52 Practical Harmony on a French Basis, Volume 2]'', p. 48. H.B. Stevens. {{pre-ISBN}}</ref>

According to composer [[Percy Goetschius]], "Altered...chords contain one or more tones written with [[accidental (music)|accidentals]] ({{music|#}}, {{music|b}}, or {{music|natural}}) and therefore foreign to the scale in which they appear, but nevertheless, from their connections and their effect, obviously belonging to the principal key of their [[phrase (music theory)|phrase]]."<ref name="Goetschius">[[Percy Goetschius|Goetschius, Percy]] (1889). ''[https://books.google.com/books?id=Q_0sAAAAYAAJ&dq=%22altered+chord%22&pg=PA147 The Material Used in Musical Composition]'', pp. 123–124. G. Schirmer. {{pre-ISBN}}</ref> [[Richard Franko Goldman]] argues that, once one accepts, "the variability of the scale," the concept of altered chords becomes unnecessary: "In reality, there is nothing 'altered' about them; they are entirely natural elements of a single key system,"<ref>[[Richard Franko Goldman|Goldman, Richard Franko]] (1965). ''Harmony in Western Music'', pp. 83–84. Barrie & Jenkins. {{ISBN|0-214-66680-8}}</ref> and it is, "not necessary," to use the term as each 'altered chord' is, "simply one of the possibilities regularly existing and employed."<ref>Goldman (1965), p. 47.</ref>

[[Dan Haerle]] argues that only fifths and ninths may be altered, as all other alterations may be interpreted as an unaltered chord tone or, enharmonically, as an altered fifth or ninth (for example, {{music|#}}1 = {{music|b}}9 and {{music|b}}4 = 3).<ref name="Haerle" /><ref name="Alfred">Alfred Music (2013). ''Mini Music Guides: Piano Chord Dictionary'', pp.  22–23. Alfred Music. {{ISBN|9781470622244}}</ref>

== 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}}

== 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>

== Alt chord<!--[[Alt chord]] redirects directly here.--> ==
{{More citations needed section|date=November 2018}}
{{Image frame|content=<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <g b f' aes ais des es>1
} }
</score>|width=300|caption=G<sup>7alt</sup> chord with {{music|flat}}5 and {{music|sharp}}5 as well as {{music|flat}}9 and {{music|sharp}}9}}
In jazz, the term ''altered chord'', notated generally as a root, followed by ''7alt'' (e.g. G<sup>7alt</sup>), refers to a [[dominant chord]] that fits entirely into the [[altered scale]] of the root. This means that the chord has the root, major third, minor seventh, and one or more altered tones, but does not have the natural fifth, ninth, eleventh, or thirteenth. An altered chord typically contains both an altered fifth and an altered ninth. To alter a tone is simply to raise or lower it by a [[semitone]].

Altered chords may include ''both'' a flattened and sharpened form of the altered fifth or ninth, e.g. A<sup>7({{music|b}}5{{music|b}}9{{music|#}}9)</sup>; however, it is more common to use only one such alteration per tone, e.g. B<sup>7({{music|#}}5{{music|b}}9)</sup> (which may also be spelled as B<sup>7({{music|b}}9{{music|b}}13)</sup>).

:<score lang="lilypond" sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <g b f' aes des es>1_\markup { \concat { "G" \raise #1 \small { "7(♭5♯5♭9)" } } }
   <g b f' aes des>_\markup { \concat { "G" \raise #1 \small { "7(♭5♭9)" } } }
   <g b f' ais des>_\markup { \concat { "G" \raise #1 \small { "7(♭5♯9)" } } }
   <g b f' aes es'>_\markup { \concat { "G" \raise #1 \small { "7(♯5♭9)" } } }
   <g b f' ais es'>_\markup { \concat { "G" \raise #1 \small { "7(♯5♯9)" } } }
} }
</score>

The raised fifteenth is only used when the ninth in a chord is natural. It functions as a [[minor ninth]], creating a [[major seventh]] interval with the natural ninth, assuming that the chord is in root position. The notation of a raised fifteenth is a fairly modern addition to Western harmony, and they have been popularized by contemporary musicians like [[Jacob Collier]]. Natural [[fifteenth]]s are never notated as alterations or extensions, as they are [[enharmonic|enharmonically equivalent]] to the root. For example, a chord that includes a raised fifteenth could look something like G<sup>maj13({{music|#}}11{{music|#}}15)</sup>, or if it were written as a polychord, {{sfrac|A<sup>maj7</sup>|G<sup>maj7</sup>}}.

In practice, many [[fake book]]s do not specify all the alterations; the chord is typically just labelled as G<sup>7alt</sup>, and the alteration of ninths, elevenths, thirteenths, and fifteenths is left to the artistic discretion of the comping musician. The use of chords labeled G<sup>7alt</sup> can create challenges in jazz ensembles where more than one chordal instrument are playing chords (e.g., a large band with an electric guitar, piano, vibes, and/or a [[Hammond organ]]), because the guitarist might interpret a G<sup>7alt</sup> chord as containing a {{music|b}}9 and {{music|#}}11, whereas the organ player may interpret the same chord as containing a {{music|#}}9 and a {{music|b}}13, resulting in every tone from the altered scale at once, likely a far denser and more dissonant harmonic cluster than the composer intended. To deal with this issue, bands with more than one chordal instrument may work out the alt chord [[Voicing (music)|voicings]] beforehand or alternate playing of choruses.

The choice of [[Inverted chord|inversion]], or the omission of certain tones within the chord (e.g. omitting the root, common in jazz harmony and chord voicings), can lead to many different possible colorings, substitutions, and enharmonic equivalents. Altered chords are ambiguous harmonically, and may play a variety of roles, depending on such factors as voicing, [[modulation (music)|modulation]], and [[voice leading]].

{{Image frame|content=<score sound="1">
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 7/4
  c4 des es fes ges aes bes c2 }
}
</score>|width=300|caption=The [[altered scale]] on C}}

The altered chord's harmony is built on the [[altered scale]] (C, D{{music|b}}, E{{music|b}}, F{{music|b}}, G{{music|b}}, A{{music|b}}, B{{music|b}}, C), which includes all the alterations shown in the chord elements above:<ref>Brown, Buck; and Dziuba, Mark (2012). ''The Ultimate Guitar Chord & Scale Bible'', p. 197. Alfred Music. {{ISBN|9781470622626}} "In a dominant 7 context, this scale contains the root, 3rd, and {{music|b}}7 of the dominant chord and includes all of the available tensions: {{music|b}}9, {{music|#}}9, {{music|#}}11, and {{music|b}}13.</ref>

* root
*{{music|b}}9 (= {{music|b}}2)
*{{music|#}}9 (= {{music|#}}2 or {{music|b}}3)
* major third (enharmonically, as {{music|b}}4)
*{{music|#}}11 (= {{music|#}}4 or {{music|b}}5)
*{{music|b}}13 (= {{music|#}}5)
*{{music|b}}7

{{Image frame|content=<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <c e g bes d fis a>1_\markup { \concat { "C" \raise #1 \small { "7" } } }
  <fis ais cis e gis bis dis>_\markup { \concat { "F♯" \raise #1 \small { "7" } } }
  <c e gis c dis f ais>_\markup { \concat { "C" \raise #1 \small { "7(♯5♯9)" } } }
} }
</score>|width=300|caption=Tritone substitution for C<sup>7</sup> (F{{music|sharp}}<sup>7</sup>) and altered chord (C<sup>7({{music|#}}5{{music|#}}9)</sup>) as "nearly identical"<ref name="Coker 81">[[Jerry Coker|Coker, Jerry]] (1997). ''Elements of the Jazz Language for the Developing Improvisor'', p. 81. {{ISBN|1-57623-875-X}}.</ref>}}

Because they do not have natural fifths, altered dominant (7alt) chords support [[tritone substitution]] ({{music|b}}5 substitution). Thus, the 7alt chord on a given root can be substituted with the 13{{music|#}}11 chord on the root a [[tritone]] away (e.g., G<sup>7alt</sup> is the same as D{{music|b}}<sup>13{{music|#}}11</sup>).

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
   \clef treble
   \time 4/4
   \key c \major
   \textLengthOn
   <des f aes ces es g bes>1_\markup { \concat { "D♭" \raise #1 \small { "13(♯11)" } } }
} }
</score>

==See also==
{{Wiktionary|alteration}}
*{{annotated link|Altered scale}}
*{{annotated link|Augmented sixth chord}}
*{{annotated link|Bar-line shift}}
*{{annotated link|Blue note}}
*{{annotated link|Blues scale}}
*{{annotated link|Harmonic major scale}}
*{{annotated link|Jazz minor scale}}
*{{annotated link|Modal interchange}}
*{{annotated link|Neapolitan chord}}
*{{annotated link|Phrygian dominant scale}}

==References==
{{reflist}}

==Further reading==
* R., Ken (2012). ''DOG EAR Tritone Substitution for Jazz Guitar'', Amazon, {{ASIN|B008FRWNIW}}

{{Chords}}
{{Chromaticism}}

{{DEFAULTSORT:Altered Chord}}
[[Category:Altered chords| ]]
[[Category:Musical terminology]]
[[Category:Jazz terminology]]