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	Bebop - Wikipedia, the free encyclopedia
		The chord changes to the song "I Got Rhythm" by George Gershwin were so often used that they are often referred to simply as "Rhythm Changes." Jazz musicians had always improvised solos over chord changes, but writing entirely new compositions based on existing chord changes was an innovation.
		The capacity to improvise over a complex sequence of altered chords using only the implied scales requires a mental agility of a mathematical, problem-solving kind that is another hallmark of bebop.
		Although it had occasionally been used for passing chords or special harmonic effects in the 20s or 30s, and is an intrinsic member of the "blues" scale derived from African music, the feature had never played an integral role in the foundation of a style to the extent it does in bebop.
	en.wikipedia.org /wiki/Bebop (916 words)

	WMU: Music 161 Questions
		A: V of IV (in a major key) is not an altered chord, it is the regular tonic chord: I. V7/IV is an altered chord (it is not the same as I7).
		A: The origin of secondary chords is from the use of chromatic non-harmonic tones.
		Although the altered tones must still be prepared linearly (stepwise), root and 1st inverstion secondary chords as a whole need not be treated as linear chords.
	www.wmich.edu /mus-theo/courses/m161_FAQ.html (1444 words)

	music definitions
		Altered dominants - Dominant triads or seventh chords with heightened activity due to chromatic alteration of the fifth.
		Chord symbols identify the root of the chord in relation to the key center, as well as the quality.
		Tonicization - The emphasis of a particular diatonic chord by embellishing it with an altered chord that bears a dominant relationship to it.
	guitarsecrets.com /music_definitions.htm (3370 words)

	A Guitarist's Guide to Chord Theory (Site not responding. Last check: 2007-10-10)
		Chord names are all based on the musical scale from which the notes are taken.
		For example, the chord of D major (or just D, since unless otherwise stated chords are assumed to be major) is made up of the notes D, F#, and A, which are the 1st, 3rd, and 5th elements of the D major scale.
		Consulting the chord summary above, we conclude that it is a major chord (because it has the major 3rd rather than the minor 3rd) and a major-seventh chord (because it has the major 7th).
	cloud.prohosting.com /digby/tabs/chords.html (3379 words)

	Chord Functions
		The minor major 7th chord typically is the tonic, or possibly the subdominant chord in a minor key area.
		This could be a tonic chord in a major key, or possibly another 7th chord, because you often have a chain of several 7th chords all a fourth higher (or a fifth lower) than the previous one.
		When resolving to a minor chord a fourth higher, you would usually lower the 13 to a -13; it is thus the same note as the 3rd of the minor chord coming up.
	www.standingstones.com /chordfunc.html (757 words)

	The Altered Scale (Site not responding. Last check: 2007-10-10)
		The Altered Scale is the seventh mode of the jazz minor scale.
		While it is easier to think of a B altered scale as a C jazz minor scale starting on B, eventually you will need to understand the notes relative to a B major scale, rather than a C minor scale.
		For example: the major third of a B7 chord is a D#, the minor third of a C minor scale is Eb.
	www.jazztactics.com /altered.html (316 words)

	ON SCALES, CHORDS, AND PROGRESSIONS (Site not responding. Last check: 2007-10-10)
		Also, the type of chord may frequently be interchanged (much more on that later) as for example placing a dominant seventh where a major seventh or minor seventh chord might be predicted to appear, or a minor seventh in the place of one of the majors, or even the dominant seventh.
		During the flight of the #4 and 7 altered chords, the scale of choice is either Bb melodic, or D harmonic minor, or both.
		In a Diatonic family of chords, we are primarily interested in reflecting the differences in notes that arise when we are in a chord that is part of a progression that is related to the scale, but can't be harmonized well using the diatonic scale notes.
	hometown.aol.com /jurupari/ONSCAL_1.html (8674 words)

	Chromatic Chords
		This chord precedes a diatonic triad, and is its dominant, or its VIIo (the leading-tone triad, or VIIo7, the leading-tone seventh chord).
		This chord most often progresses to the dominant, or the cadential 6/4, and then V. It is theoretically possible to place an augmented sixth chord on other scale degrees, but this procedure is rare and limited to late 19th century music.
		The chord represents an chromatic modification of the the IV6 in the so-called "Phrygian" cadence.
	www.msu.edu /~bruce/chromatic.htm (1866 words)

	chord substitutions
		A chord subsitution is a chord that replaces (substitutes) for a chord that you might usually expect in a chord progression.
		An altered chord is a chord that has one or more of its chord tones changed from what it would normally be in the scale that it lives in.
		F/G is really a dominant chord in the key of C and the root is of the chord is G, not F. Anyway, I am digressing a bit from the main point of this lesson, so let me continue.
	www.lovemusiclovedance.com /chord_substitutions.htm (2265 words)

	Neapolitan
		The chord is sometimes called the Phrygian II in reference to Phrygian mode where the triad built on the second degree of the scale is major and its root is a half step above the tonic.
		The chord is considered chromatic, because the altered second scale degree does not result from either tonicization or mixture.
		Although the scale degree b2 and the natural scale degree 2 in the V chord produce a cross relation, its effect is softened by the distribution of the pitches in the progression.
	www.utexas.edu /courses/mus612b/fmain/fdocs/notes/neapolitan.html (1598 words)

	Altered States : Lesson by Tom Serb
		Since every chord is identified from the root, a C major chord with a raised root (C#-E-G) would be called a C# diminished chord; an F minor chord with a lowered root (Fb-Ab-C) becomes an augmented chord on the new root (E-G#-B#).
		Altered 9ths (b9 or #9) can include the natural third, and b13 chords include the fifth, so it's only doubled fifths you'll need to worry about, and only when the fifth is an altered tone.
		A couple of things about altered chords: first, they tend to have five or more tones if you played the ‘real' voicing (many of which are unplayable on the guitar), and some tones are more important than others.
	www.guitarnoise.com /article.php?id=497 (1781 words)

	Dolmetsch Online - Music Theory Online - Notes, Harmonies & Scales
		We have three possible chords on the seventh of the minor scale to consider: that on the natural seventh of the natural minor, that on the sharpened seventh of the harmonic minor (now no longer part of the natural minor scale) and the true diminished 7th on B natural.
		This increases the 'tension' of the chord and increases the sense of release as one moves to a less dissonant chord, for example the tonic.
		One 'named' altered chord is the Neapolitan Sixth which is the first inversion of a major chord on the flattened (sometimes described as 'lowered') supertonic, the second degree of the major and minor scales used.
	www.dolmetsch.com /musictheory25.htm (6798 words)

	Expert Forums from Gig, EQ, Keyboard, Surround Professional & MusicPlayer: Incredible Chord Finder... WTF? (Site not responding. Last check: 2007-10-10)
		I think that your chord finder book is going on the basis of you need a 9, a #11, then a 13 for a C13 chord, I believe a more common practice is using just the 9 and 13.
		If you call a chord a b5 chord (such as in Dm7b5 G7b9 Cm7), you are describing a chord with (usually) a minor third, a fourth, a b5, no "regular" 5, since that´s what you´re altering, and so on.
		However, if you call a chord a #11 chord, you have the major third, the augmented fourth (#11), and the fifth intact, giving you a lydian or a lydian dominant scale, depending on the rest of the upper structure (7, 9, 13, maj7, maj9, maj13 and so on).
	www.musicplayer.com /ubb/ultimatebb.php?ubb=get_topic;f=18;t=009974 (3627 words)

	Chapter 13 - Secondary Chords
		Secondary chords usually have dominant function, Chords must be major or minor in quality to be preceded by secondary chords.
		The V/ iii occurs in major as a chromatically altered leading tone chord and is used in all positions except second inversion.
		are the subtonic triad and subtonic seventh chord.
	www.tpub.com /harmony/37.htm (400 words)

	ChopsFactory-Jazz Guitar Scales
		The chord asociated with this scale is sometimes writen as C7b5.
		It is the scalar equivalent of a Dominant Chord with b9, #9, #11 and natural 13.
		The Altered Scale is a 7-note scale with no 5th degree, and is the equivalent of a Dominant Chord with b9, #9, #11 and b13.
	www.chopsfactory.com /domscales.html (503 words)

	MusicStaff Online Guitar Lessons
		Altered dominant chords (several of which are shown below) offer a tremendous amount of harmonic color in jazz.
		An altered dominant is a V7 chord with the 5th and/or the 9th of the chord raised and/or lowered one half step (1 fret).
		The coolest thing about altered dominants is the fact that they take on a diminished chord function that can really help you.
	www.musicstaff.com /guitar/altrddom.asp (316 words)

	ChopsFactory-Jazz Guitar Chords
		Jazz Guitar Chord of the Week is a chord voicing that sounds good and is somehow useful.
		Altered C7 arrived at by moving no more than a whole step from any note in "last week's" chord voicing.
		The first chord is a voicing for GÆ7 that is similar to a voicing seen on this page last year, but with a different root.
	www.chopsfactory.com /chordweek.html (1574 words)

	GeoGlover.com - Jazz > Music Theory > Intervals (Site not responding. Last check: 2007-10-10)
		The pianist will play a brilliantly altered chord that compliments what the soloist is playing.
		In many cases when the chords are many, the tonality is only a few.
		The II and V chords are leading to the I chord.
	www.georgeglover.com /jazz/theory/solo (523 words)

	Jazz Bulletin Board - Alterations/tailoring or is that Tayloring?
		Since Dominant Chords generally are the most diverse sounding chords you can change whatever extentions you want as long as you keep the tri-tone between the 3rd and 7th intact.
		Natural 9 is not normally accepted as an altered tone or in an altered chord; it is a natural extension of an unaltered triad/chord.
		I've played big band charts with Altered Chords written for the guitar chart when all 3 of the 9ths were in the band.
	forums.allaboutjazz.com /printthread.php?t=7048 (1958 words)

	Altered Chords and Arpeggios Formulas: Chapter 8 - Lesson 1 from the book "A CRASH COURSE IN GUITAR THEORY" (Site not responding. Last check: 2007-10-10)
		An altered chord or arpeggio contains a note that does not fit any of the seven modes, such as a sharp five.
		An altered chord or arpeggio creates more tension than an unaltered one.
		There are also chords not listed in the chart above.
	www.guitarlessons.info /theory/chap8_lesson1.htm (157 words)

	Sunshine State Acoustic Music Camp: Lessons (Site not responding. Last check: 2007-10-10)
		A C major chord includes C, E, and G. A minor chord consists of the 1, 3b, and 5 notes of a scale.
		A C minor chord includes C, Eb, and G. An augmented chord consists of the 1, 3, and 5# notes of a scale.
		This style of backup is jazz-based, and it involves lots of fast chord changes, usually two to the four-beat measure, with a walking or travelling bass note beneath the strummed chord.
	www.cgmusicman.com /camp/lesson.htm (1016 words)

	HotFrets Music Theory for the Guitar
		The chord that we'll be dealing with in this lesson is the Dominant 7th chord.
		It's the chord in any key that naturally occurs (as an extended chord in any key) as the 5th of the key.
		In other words, the 5th in the key of C is G. So the G7 is the Dominant 7th chord in the key of C. When you say, "Altered dominant chord," it sounds pretty complicated but really it isn't.
	www.hotfrets.com /TheoryDetail.asp (257 words)

	13 chord - StoneDragon's Guitar Discussion Forum
		Since you're building on G13 - which is altered 7th chord, you could use that as a starting point around the circle..
		The Circle of Fifths comment was throwing me though, and the chords you came up with were interesting sounding, so I just thought I'd try to get a better handle on where you're coming from.
		I knew you could use the dim chord to change keys, and I had messed with the idea briefly when I first learned it years ago, but I have no practical knowledge of it.
	www.zentao.com /ubb/Forum3/HTML/000480.html (1411 words)

	Street Smarts
		Textbooks and courses often give the impression that their main purpose is to make students feel inferior if they haven't memorized a zillion scales and their relationships to every possible chord.
		If you've tried to use melodic minor scales over altered dominant chords but have trouble remembering the right scale to use (or making it sound like much when you do remember it), try this: just think of a minor triad a half-step up from the chord you're playing on.
		For example, if the chord is E7(#9) or E7(#5,b9), try playing things you'd normally play on an F minor chord.
	people.uncw.edu /russellr/Street.html (645 words)

	Joe Pass Instructional Material
		All solos are presented in notation with appropriate chord symbols.
		The important areas of chord substitution, "minorisation," altered tension, chord/scale relationships, comping, pedals, and octave playing are all examined in depth.
		In addition to offering a wealth of theoretical and practical material, artist bios are presented and analyzed to determine the players' overall significance in the history and development of jazz guitar style and technique.
	www.stuntzner.brent.org /JP_Books.html (1706 words)

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