Altered Chord Voicing Question

[Robert_S_Gingher]

So enjoying your lessons! I’m probably missing something here but thought I’d check…

Love those transcriptions!

All the best,

bob

[Hayden]

Hi Bob

Good question! And thanks for sharing the image of the chord.

Let’s first explain what that chord voicing is:

What you are seeing there is a rootless altered chord voicing for A7, my left hand plays the b7(G) b9(Bb) maj3(C#) #5(F) and the #9 (C ) is in the melody.

With altered chords, you have the freedom to include any of the altered tones in your voicings. The lead sheet says A7#9 which indicates that the #9 is in the melody, and you can always add in additional altered tones.

The possible altered tones or ’tensions’ are b9, #9, #11, and #5/b13 (the #5 and the b13 is same note but can be referred to either way).

In that example, I chose to play the b9(Bb) and the #5(F) in my left hand voicing.

You can also play multiple alterations for 1 voicing:

You will also see that sometimes I play both the #9 and then the b9 in my voicing, one after another.

If you raise the Bb in your left hand to C Natural, you then have a A7#5#9 voicing (G-C-C#-F), and you can play this for half of the bar, and then drop the C down to Bb to play A7#5b9 (G-Bb-C#-F).

This ‘inner voice’ movement of #9 falling to b9 is a lovely sound. You can play this anywhere in the voicing too which gives you some nice options.

Here’s another forum post that you may find useful:

How To Add Alterations To Chords In Jazz

Student’s Question: How do you know when to add alterations into your playing? Hayden’s Answer: Choosing which alterations to include is often a matter of taste. Sometimes the alterations will be specified in the chord symbol, but many time they are not. Here’s what I would recommend: 1) Become familiar with the sound of each alteration. The b9 has a very soft and subtle sound, it the ‘easiest on the ears’. The #9 is more tense and jarring. The #11 has a uplifting and floating quality. The…

I hope this helps!

Hayden