The altered dominant can be difficult to deal with, but there are some really good hacks or tricks you can use to play the chords and add them to your vocabulary.
In this video I am going to go three of ideas and help add new altered dominant chords to your playing. Using other chords that you already know as altered chords.
Being able to see the same voicing as several different chords was a huge help in building my chord vocabulary and has opened up a lot of things in my comping and soloing.
The Altered Dominant Hack
Which is maybe a hack or is it actually a skill? The idea is to use other chord voicings that we already know as altered dominant chords. The basic concept is really clear if you look at this example:
Here the G7 altered voicing is really an Fm7b5 or Fø voicing with a G in the bass.
The Fø agaings the G root is F(b7), Ab(b9), B(3) and Eb(b13) so the G7 is a G7(b9b13)
#1 The Fø
From example 1 You now know that You can then use all the Fø voicings and inversions as G7alt chords.
Here’s an example using the original Fø voicing:
And of course you can use the inversions as well:
But you can do a lot of interesting things by using other types of voicings than the Drop2 that was in the previous examples:
Another great candidate for a G7 altered voicing is a maj7b5 arpeggio.
A Bmaj7(b5) arpeggio against the G root is: B(3), Eb(b13), F(b7), Bb(#9) so a G7(b13#9)
An example of this that you probably already know would be:
And another great example using a basic root position maj7b5 voicing could be this:
And another good example using an inversion of the Bmaj7(b5) arpeggio:
#3 Using the Db7 or tri-tone substitution voicings
Another great example is to use the Db7 chord as a voicing.
In this first example I am using a basic Db7 voicing.
Against a G root that would be: Db(b5) F(b7) Ab(b9) B(3) so a G7(b5b9)
And you can use variations of the Db7 chords as well.
Here are an example using a Db7(13) voicing which contains B(3) F(b7) Bb(#9) Db(b5) which is a G7(b5#9)
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How can that be an altered dominant
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