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Hello all,
I’m a new member here. I’m very happy and excited to be here.
I’m working my way through the preliminary chord studies 2.In minor tonality, we can derive the following chords from the harmonic minor scale. Let me use the key of C minor to illustrate.
C Harmonic minor scale – C D Eb F G Ab B
ii7b5 – D F Ab C
V7 – G B D F
V7b9 – G B D F AbBut where are the notes for altered dominant chords derived from?
V7#5b9 – G B D# F Ab
IV7b5 – F A Cb EbIn the chord studies 2 video, Richie mentions that the notes are derived from the melodic minor mode.
C Melodic minor – C D Eb F G A BCan someone help me out here? I’m convinced that the writers of science fiction came up with the idea of parallel universes from music theory =D
Many thanks!
-RobbieThe notes from the altered dominant come from the super locrian which is the 7th mode of the melodic minor. The theory for this is formally introduced and explained in module 6.
Howdy!
I’m a new poster and I’ve got a question regarding the spelling of altered dominates (alt chords). In some instances, I’ve noticed that some teachers will call an altered dominate chord a chord with both an altered 9th degree (b9 and/or #9) and altered 5th (b5 and/or #5). Others will refer to it as having the altered 9th with either an altered 4th (#4) and/or a flattened 13 (b13). So how does one differ between the use of b5 and/or #5) or #4 and/or b13?
I noticed in the scale & arpeggio library the super locrian (alt. dom.) scale pattern makes reference to #4 and #5 but not to b5 or b13. Yet in the Jazz blues etudes there is reference to b13 instead of #5.
I’ve been working through Vol 1 for over a year now and I’m not giving up!Hi Steve,
Please read p.35 in the workbook and let me know if that answers your question. It has to do with the context.
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