The V7 Dominant Chord And Its Alterations

As we said before, the V7 chord is the most versatile of all chords.  There are more alterations that can be made to it than any other chord.  Because it is the strongest tension chord, it is the most important chord to master.  This means that the chord sounds as though it is wanting to resolve to a more peaceful chord, such as the I. This second article is devoted to alterations of the V7 chord

We'll use the V7 in the key of C (which is G7) for our examples. We're assuming that you are now familiar with the G7 chord in root position as well as its extentions - the 9th, 11th, and 13th. If not, then read "The V7 Chord And Its Extensions". When dealing with the V7 chord alterations we will look at the 5th, 9th, 11th and 13th. Naming the V7 chord based on its alterations can be a little tricky, so pay attention to the details.

G7(b5)

The b5th of G7 is Db. It is very common to add the 9th to the V7(b5) chord. Here are some common voicings:

G F / G B Db F

G F / B Db F G

Now we add the 9th for a fuller sound.

G / F A B Db

G F / A B Db F

G F / B Db F A

G7(#5)

The #5th of G7 is D#. Here are some common voicings:

G F / B D# G

G / F B D# G

G7(b9)

The b9th of G7 is Ab. Here are some common voicings:

G / Ab B D F

G F / B D F Ab

G7(#9)

The #9th of G7 is A#. Here are some common voicings:

G / B F A#

G / F A# B D

G7(#11)

Wait! What happened to the b11th? Good question! The b11th is the same as the 3rd. That wouldn't be much of an alteration at all, now would it?

The #11 of G7 is C#.  In order for this to be considered a #11, you must include the 5 or else it is just the b5.

G7(b13)

The b13 of G7 is Eb.  In order for this to be considered a b13, you must include the 5 of else it is just the #5.

This chord is rarely truly used in Gospel music, so I won't show voicings for it here.

Wait! Where's the #13th? Can you figure this out?

Putting Them Together

Many of these alterations can be combined. Below are the possible 2-note voicings. As an exercise, find voicings for these.

G7(b5,b9)

G7(#5,b9)

G7(b5,#9)

G7(#5,#9)

G7(b5,b13)

G7(#5,#11)

G7(b9,#11)

G7(#9,#11)

G7(b9,b13)

G7(#9,b13)

As an exercise, figure out all the 3-note alteration combinations and work out voicings for them.

Begin by learning the 1-note alteration voicings and work them into your vocabulary in every key. Next work on the 2-note and then the 3-note voicings. This is an arduous process, but will greatly enrich your sound.