LearnGospelMusic.com Community
Gospel Instruments => General Music Hangout => Topic started by: ltljake on June 28, 2014, 02:06:40 PM
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This video hits the nail on the head....
Uses of Altered Dominant Chords (http://www.youtube.com/watch?v=Hg53bR5BqPU#ws)
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Nice video
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so let me get this straight.
He is basically saying that you can substitute a #5#9 chord for the 3 chord within a scale. and that typically you can use a #5#9 chord as a method to resolve to a 6 chord within a song.
The rest is about voicing. So he is saying that one method to voice a #5#9 is to play the tritone of the 3 dominant in the left hand, and play the 1 ( of the scale degree) in the right hand? so you get a rootless dominant altered chord ( since you are not playing the root in the base)? So in a band setting I would assume the bass player would play root?
Its very good stuff, and I will definitely try and incorporate it into my music. I am pretty sure I already do some of this I just didn't know the theory behind it.
Did I also get this right, he said something about substituting a #5#9 on the 7 ( scale degree as well)?
Jlewis
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Yeah, he did say that which I wouldn't per se agree with just that statement. You can really substitue a dominant on any degree.
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its just that I am noticing that typically the 3 chord is a minor chord
So if I look at what is being played in the right hand, is really a minor 3 with a sharp 5.
so if I take the tritone out of the left hand and just play the flatted 7th, what I have is a minor7 with a sharp 5.
I guess the tritone is really what changes the chord to a #5#9, otherwise this would really only be a minor chord.
That was a surprise to me ( although this might be extremely clear to other folks).
Jlewis
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This video hits the nail on the head....
Uses of Altered Dominant Chords ([url]http://www.youtube.com/watch?v=Hg53bR5BqPU#ws[/url])
Seems like the perfect time for a plug :). The video referenced in the first post is the one and only Joel McCray, pianist extraordinaire, and music theory guru (as you can tell by the video). He will be one of the two instructors teaching our theory course. So if you like the video and want to dig more into some advanced theory, check out the course. Info is below:
The Practical Musician Fall 2014 (http://www.youtube.com/watch?v=ck2qu08p4J0#ws)
....Now back to your regularly schedule programming.
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I played around with this some more.. The method he uses to voice the #5#9 chord only works when the #5#9 chord you use is the 3 chord of the current scale degree you are in.
for example if you are in the key of B natural, then you can use his method of voicing a Eb #5#9. but if you wanted to use the 2 ( Db ) as a #5#9, you could not use this method ( unless you can visualize in your mind that the scale you should be using is "A" natural).
Its still a really good method and I have incorporated it into my playing, but the method explained works for the 3 chord of the current scale degree you are in ( vs as a general method to voice any #5#9 chord).
maybe everybody else had this already figured out, but it took some time for me to grasp that paticular sticking point of the concept.
Jlewis