This page deals with an issue a lot of beginning jazz-musicians wonder about: "How do you know
when to alter a chord?". Actually this is a simple matter, but for some reason the explanation
always seems long and difficult. If you've explored the other pages at The
Jazz Resource Center you probably know I prefer practical
explanations which may not always satisfy the "theory-purists" above complicated theoretical
consistent explanations. I hope this page can keep up with that "motto".
The distance between two notes. Al the possible intervals have different names. These distances
and according names are also mostly covered on
Chord Symbols and What to Make of Them.
So far the theoretical stuff on the tritone. Now some practical things. You should remember the
following properties of a dominant and its tritone-substitute (for example D7 and Ab7): D7alt = Ab7mixolydian#11 (mixo#11)
Ab7alt = D7mixo#11
Note: For the purists: with the " = " between the chords above I mean that they have
the same function.
If you've read the above you'll prabably think: "II-V-I ? I know what that is: in
for example C-major that would be D7 - G7 - C7." Well, I'm afraid
I'll have to dissapoint you! D7 - G7 - C7- are dominants on the according
chord-degrees. "Officially" when you talk about a II-V-I you talk about the
actual chords that go with that chord-degree. Before I get to thereoretical
just remember the following: II without any further information means:
a min.7-chord on that chord-degree. V actually does mean a dominant
on that chord-degree and I stands for a maj.7- or 6-chord on that chord-degree.
So in C-major a regular II-V-I would be: Dm7 - G7 - Cmaj.7/C6. Or a II-V-I in
Ab-major: Bbm7 - Eb7 - Abmaj7/Ab6.
A II-V-I in minor is a bit different. I think two examples will be sufficient to
understand a II-V-I in all minor keys. C-minor: Dm7b5 - G7 - CmMaj.7/Cm6. Ab-minor: Bbm7b5 - Eb7 - AbmMaj.7/Abm6
All right!! If you've taken the time to study the above you've come a long way. I think it's about
time to explore the real reason you've started reading this page: "How the **** do I know when to alter a dominant ?"
Before we start, let me make one thing very clear: "altered" is a "color" you
can only apply to DOMINANTS (the same thing goes for the other "colors"). All
too often I hear people talk about altering maj.7- and min.7-
chords; there is no such thing!!!
To determine wether or not you can alter a dominant I have three
"tricks". You'll see that it is quite easy to follow if you understand
the common expressions I explained above. These "tricks"
are to be used in the order I present them; that way most mistakes will be
avoided. When you first start using this system I advice you to write the possibility
to alter a certain dominant above the chord. This way it's easy to give a final check when
you finished working on a set of changes (=sheet with chords for a certain song). Okay, here
we go:
Alt. (altered) An important exception being the I7 in a major-blues: don't alter it.
Alt.
II
Mixo#11
Alt.
III
Alt.
Mixo#11
IV
Mixo#11
Mixo#11
V
Mixo#11/Alt. (altered is preferred by most musicians)
Alt.
VI
Alt (in "older" jazz mixo#11 is preferred)
Mixo#11
VII
Alt.
Mixo#1
Don't fall in the "modulation-pitfall". Using this step it is important that you realise in which
key to see the dominants. A song can be written in C-major, but the first
four bars might as well be in B-minor. To determine the right keys in the right
places it is probably best if you look for your (II)-V-I's, which you already have
found with the first step. Mostly a (II)-V-I is the beginning of a modulation, every
dominant that comes after this modulation until the next (II)-V-I is in the key
of the I of the first modulation. This sounds a lot harder than it actually is (I know: a cliché), but
things will be more clear when you study the example-song at the end of this page.
Well, that's it. It's that simple! f you still have dominants left I bet you made
a mistake somewhere. Don't hesitate to ask me questions though. I will always answer
E-mail.
Some Final Thoughts
You have to realise that nothing is foolproof. There are many exceptions to
my "system". For example because the melody of the head dictates a certain
color or just because "it doesn't sound right!". Therefore always check
your outcomings at the piano; just listen and when something is
bothering you (it is also always possible that you just aren't ready for
the altered sound) change it!
When you first "discover" the altered color, you'll probably use it al l the
time. I think most beginning musicians do; I did. Never forget though that there are
other possibilities. octotonic and
wholetone for example: you can almost always use these colors; taste is
the rule here. Playing mixolydian#11 all the time is
also possible. Or even playing altered when mixo#11 is theoretically the right
choice. What I'm trying to say is: in the end nothing matters; when you play something
that sounds great but is in theory "incorrect", who cares? Playing outside is also
"incorrect" but can sound fantastic. So what's the point of learning the material
written above? Well as my teacher told me and as I always tell my students: "You've gotta
know what's "right" first to be able to play (convincingly) wrong!!".