Altered Dominant Chords

Unlock the power of altered dominants - from the iconic Hendrix chord to jazz tension mastery, these modified dominant 7ths create maximum harmonic tension before resolution.

Advanced JazzHendrix ChordTensionChromatic

Theory Fundamentals

What Are Altered Dominant Chords?

•Definition: Dominant 7th chords with a raised or lowered 5th and/or 9th
•Formula (7#9): Root + Major 3rd + Perfect 5th + Minor 7th + Augmented 9th
•Formula (7b9): Root + Major 3rd + Perfect 5th + Minor 7th + Minor 9th
•Sound Quality: Aggressive, dissonant, highly charged tension
•Function: Maximum tension before resolution to tonic chord

Musical Applications

•Rock/Blues: The 'Hendrix chord' E7#9 - Purple Haze, Foxy Lady
•Jazz: Altered dominants in ii-V-I resolutions and turnarounds
•Funk: Sharp-nine stabs for rhythmic punch and grit
•Fusion: Combining altered voicings with complex melodic lines

Understanding Altered Dominant Chord Construction

E7#9 (The Hendrix Chord)

• Root: E (1st degree)
• Major 3rd: G# (creates dominant quality)
• Perfect 5th: B (standard 5th)
• Minor 7th: D (dominant 7th tension)
• Augmented 9th: G-natural (clashes with G# for gritty dissonance)

Altered Tensions Explained

• #9 (sharp nine): Raised 9th - the 'Hendrix' sound
• b9 (flat nine): Lowered 9th - dark, dramatic tension
• #5 (sharp five): Raised 5th - augmented dominant color
• b5 (flat five): Lowered 5th - tritone substitution foundation
• Full alt: All alterations from the altered scale (7th mode of melodic minor)

The Altered Scale Connection

• Source: 7th mode of melodic minor (Ab melodic minor gives G altered)
• Contains: Root, b9, #9, 3, b5, #5, b7
• Every extension is altered - no natural 5th or 9th:
• Provides melodic material over any altered dominant chord:
• Resolution: Altered V7 resolves to I with maximum voice-leading pull

Essential Altered Dominant Voicings

Start Here

Begin with the iconic E7#9 'Hendrix chord' and then explore other altered voicings based on open dominant 7th shapes.

E7#9

Notes: E-B-D-G#-G

Fingering: 0-2-0-1-3-3 (thumb on low E optional)

Use: The Hendrix chord - Purple Haze, Foxy Lady

A7#9

Notes: A-E-G-C#-C

Fingering: Barre shape at 5th fret based on E7#9

Use: Funk and blues-rock rhythm parts

E7b9

Notes: E-B-D-G#-F

Fingering: 0-2-0-1-0-2 (open voicing)

Use: Jazz turnarounds, dark tension before Am resolution

Jazz Altered Voicings

Advanced Shapes

These voicings are used in jazz comping and fusion contexts for sophisticated tension and resolution.

G7#5

Notes: G-B-D#-F

Fingering: 3-x-3-4-4-x (rootless optional)

Use: Augmented dominant resolving to Cmaj7

B7b9

Notes: B-D#-F#-A-C

Fingering: x-2-1-2-0-2 (open voicing)

Use: Dominant in E minor, classical-jazz crossover

D7#9

Notes: D-F#-A-C-F

Fingering: x-5-4-5-5-6 (barre voicing)

Use: Funk rhythm and jazz fusion

Common Altered Dominant Progressions

Hendrix-Style E7#9 Vamp

Chord Sequence

E7#9

I7#9

A7#9

IV7#9

E7#9

I7#9

Strumming Pattern

D - DU xU DU

Aggressive, rhythmic stabs with muted scratches

Tempo: 100-130 BPM

Feel: Raw, aggressive, psychedelic

Genre: Blues-Rock, Psychedelic Rock

Hendrix Vamp (E7#9-A7#9-E7#9)

The classic Hendrix sound - sharp-nine chords with aggressive rhythm create the psychedelic blues-rock tone heard on Purple Haze and Foxy Lady.

Jazz ii-V-I with Altered V7

Chord Sequence

Dm7

ii7

G7alt

V7alt

Cmaj7

Imaj7

Strumming Pattern

D - DU - DU D

Smooth jazz comping rhythm

Tempo: 100-140 BPM

Feel: Sophisticated, tense-to-resolved

Genre: Jazz, Bossa Nova, Fusion

Jazz ii-V-I (Dm7-G7alt-Cmaj7)

The cornerstone of jazz harmony - the altered dominant creates maximum tension on the V chord before resolving beautifully to the tonic major seventh.

Minor Key Altered Resolution

Chord Sequence

Am7

E7b9

V7b9

Am7

Strumming Pattern

D - D - DU DU

Deliberate, dramatic feel

Tempo: 70-100 BPM

Feel: Dark, dramatic, cinematic

Genre: Jazz, Latin, Film Scores

Minor Key Resolution (Am7-E7b9-Am7)

The flat-nine dominant is the natural V chord in harmonic minor. The b9 pulls strongly downward, creating a dark, classical-sounding resolution to the minor tonic.

Funk 7#9 Groove

Chord Sequence

E7#9

I7#9

IV5

B7#9

V7#9

E7#9

I7#9

Strumming Pattern

xU DU xU DU

Tight 16th-note funk pattern with ghost strums

Tempo: 90-110 BPM

Feel: Funky, gritty, percussive

Genre: Funk, Funk-Rock, R&B

Funk Groove (E7#9-A5-B7#9-E7#9)

Sharp-nine chords are a funk staple. The dissonant, biting quality of the #9 cuts through a full band mix and adds rhythmic edge to tight 16th-note grooves.

Practice Tips for Chord Progressions

Technique Focus

• Master the E7#9 shape first - thumb over the top for the low E string
• Practice muting unused strings to keep altered voicings clean
• Work on moving the E7#9 shape chromatically up the neck as a barre chord
• Use staccato (short, clipped) attacks for funk-style altered chord stabs

Musical Application

• Altered dominants create the strongest possible tension before resolution
• The #9 chord works in blues, rock, funk, and jazz - an incredibly versatile sound
• b9 chords naturally resolve to minor keys (V7b9 to im)
• Combine altered chords with the altered scale for improvisation over changes

Famous Songs Using Altered Dominant Chords

Rock & Blues-Rock

• "Purple Haze" - Jimi Hendrix (E7#9 - the defining Hendrix chord)
• "Foxy Lady" - Jimi Hendrix (F#7#9 groove)
• "Crosstown Traffic" - Jimi Hendrix (D7#9 rhythm)
• "Voodoo Child" - Jimi Hendrix (E7#9 with wah-wah)
• "Black Dog" - Led Zeppelin (altered dominant riff tension)

Jazz, Funk & Fusion

• "Chameleon" - Herbie Hancock (7#9 funk vamp)
• "Tell Me a Bedtime Story" - Herbie Hancock (altered dominant voicings)
• "Spain" - Chick Corea (B7b9 to Emaj7 resolution)
• "Cissy Strut" - The Meters (E7#9 funk guitar)
• "Higher Ground" - Stevie Wonder (sharp-nine funk groove)

Practice Exercises

Building Altered Dominant Skills

These exercises will help you internalize the sound and feel of altered dominant chords across multiple musical contexts.

Exercise 1: E7#9 Shape Mastery

Play: E7#9 (0-2-0-1-3-3), slide to F#7#9 (2-4-2-3-5-5), then A7#9 (5-7-5-6-8-8). Hold each for 4 beats.

Master the moveable E7#9 barre chord shape by shifting it chromatically and to common positions up the neck

Keep your thumb wrapped over the top of the neck for the bass note - this is one case where thumb fretting is standard technique

Exercise 2: Altered ii-V-I Resolution Drill

Pattern: Dm7 - G7b9 - Cmaj7, Cm7 - F7#9 - Bbmaj7, Fm7 - Bb7b9 - Ebmaj7. Transpose through all keys.

Practice the most common jazz resolution using altered dominants - hear how the tension of the altered chord makes the resolution more satisfying

Focus on smooth voice leading - the altered tones should resolve by half-step into chord tones of the target chord

Exercise 3: Funk Rhythm with Altered Chords

16th-note pattern on E7#9: rest-strum-mute-strum (xU xU xU DU). Add ghost strums on muted strings between chord hits.

Apply the sharp-nine chord in a tight funk rhythm context with muted ghost notes for percussive groove

The key to a great funk altered-chord sound is the muting - your fretting hand should lightly release pressure between hits for crisp staccato

Advanced Altered Dominant Concepts

The Altered Scale (Super Locrian)

• The altered scale is the 7th mode of melodic minor (G altered = Ab melodic minor):
• Formula: 1 - b9 - #9 - 3 - b5 - #5 - b7 (every possible alteration)
• Use it to solo over any altered dominant chord (7alt, 7#9, 7b9, 7#5, 7b5):
• It resolves naturally - every note wants to move by half-step to a chord tone of the I chord:
• Also called 'Super Locrian' or 'Diminished Whole-Tone' scale:

Tritone Substitution and Altered Chords

• A tritone sub replaces V7 with bII7 (e.g., Db7 instead of G7 in key of C):
• The altered tones of G7 (b5, #5) are the natural tones of Db7 and vice versa:
• G7#5 shares notes with Db7: same tritone (B-F), enharmonic extensions
• This is why altered dominants sound 'outside' - they imply two keys simultaneously:
• Master tritone subs to unlock chromatic bass lines: Dm7 - Db7 - Cmaj7