Ranking dominant chord alterations by dissonance
Ranking Dominant Chord Alterations by Dissonance
Introduction
Dominant chord alterations are a vital component of jazz and other genres that emphasize harmonic variation and expressive dissonance. These alterations involve modifying the dominant seventh chord, which consists of a major triad with a minor seventh interval added on top. Understanding the dissonance of these alterations and how they can be ranked is crucial for musicians navigating the complexities of harmony and improvisation.
What are Dominant Chord Alterations?
Dominant chord alterations refer to modifications made to the dominant seventh chord. The dominant seventh chord consists of a major triad (root, major third, and perfect fifth) with a minor seventh interval added on top. Alterations can be made to various chord tones, such as the ninth, eleventh, and thirteenth, to create a distinct tonal color and dissonant quality.
The Subjectivity of Dissonance Ranking
Ranking dominant chord alterations by dissonance is a subjective matter. The perception of dissonance can vary depending on individual preferences and the musical context. Different musicians may have different rankings based on their personal aesthetic and expressive goals. It is important to approach the ranking of dissonance with an understanding that there is no definitive or universally agreed-upon order.
Common Dominant Chord Alterations
Several common alterations are frequently used in dominant chord progressions to introduce dissonance and add harmonic complexity. These alterations include:
Raised Ninth (#9)
The raised ninth alteration involves raising the ninth scale degree of the dominant chord by a half step. This alteration adds tension and dissonance to the chord, creating a more unstable and colorful sound.
Lowered Ninth (b9)
The lowered ninth alteration entails lowering the ninth scale degree of the dominant chord by a half step. This alteration also introduces tension and dissonance but with a slightly different tonal color compared to the raised ninth.
Raised Eleventh (#11)
The raised eleventh alteration raises the eleventh scale degree of the dominant chord by a half step. This alteration creates a clash with the natural or lowered eleventh, adding a distinct dissonant character to the chord.
Lowered Eleventh (b11)
The lowered eleventh alteration lowers the eleventh scale degree of the dominant chord by a half step. This alteration introduces a different dissonant quality, often associated with a more bluesy or “dark” sound.
Raised Thirteenth (#13)
The raised thirteenth alteration involves raising the thirteenth scale degree of the dominant chord by a half step. This alteration contributes to a heightened sense of tension and dissonance, providing a rich and colorful harmonic palette.
Lowered Thirteenth (b13)
The lowered thirteenth alteration lowers the thirteenth scale degree of the dominant chord by a half step. This alteration adds a unique dissonant flavor, often associated with a more altered or “outside” sound.
Factors Influencing Dissonance
The dissonance of dominant chord alterations can be influenced by several factors:
Intervallic Relationships
The intervallic relationships between the altered tones and the other chord tones play a significant role in determining the perceived dissonance. Certain intervals, such as minor seconds or tritones, tend to create more dissonant and unresolved sounds.
Resolution Tendencies
The resolution tendencies of the altered tones also impact the perceived dissonance. Some alterations have a stronger pull towards specific resolutions, while others may create a more ambiguous or unresolved quality.
Harmonic Context
The overall harmonic context in which the dominant chord alterations are used can influence their dissonant quality. The surrounding chords and the progression’s tonal center can shape the perception of dissonance and contribute to the overall musical effect.
Conclusion
Ranking dominant chord alterations by dissonance is subjective and depends on individual preferences and musical context. The dissonance of these alterations can vary based on factors such as intervallic relationships, resolution tendencies, and harmonic context. Musicians should consider the desired musical effect and resolution when choosing and ranking dominant chord alterations by dissonance.
Sources
- “Ranking dominant chord alterations by dissonance” – Music: Practice & Theory Stack Exchange (https://music.stackexchange.com/questions/67293/ranking-dominant-chord-alterations-by-dissonance)
- “Altered and Extended Chords” – OPEN MUSIC THEORY (https://viva.pressbooks.pub/openmusictheory/chapter/altered-and-extended-dominant-chords/)
- “How to Improvise on V7#9 Chords: Strategies for Alt Dominant” – Jazzadvice (https://www.jazzadvice.com/lessons/navigating-altered-dominants-strategies-for-the-v79-chord/)
FAQs
Ranking Dominant Chord Alterations by Dissonance
What are dominant chord alterations?
Dominant chord alterations refer to modifications made to the dominant seventh chord, which is a four-note chord consisting of a major triad with a minor seventh interval added on top.
How does the dissonance of dominant chord alterations vary?
The dissonance of dominant chord alterations can vary depending on the specific alterations used. Factors such as the intervallic relationships between the altered tones and the other chord tones, the resolution tendencies of the altered tones, and the overall harmonic context influence the perceived level of dissonance.
What are some common dominant chord alterations?
Common dominant chord alterations include the raised ninth (#9), lowered ninth (b9), raised eleventh (#11), lowered eleventh (b11), raised thirteenth (#13), and lowered thirteenth (b13). These alterations add unique tonal colors and varying degrees of dissonance to the chord.
Can dominant chord alterations be ranked by dissonance?
Yes, dominant chord alterations can be ranked by dissonance, but it is a subjective matter. The ranking of dissonance depends on individual preferences and the desired musical effect within a specific harmonic context.
How do intervallic relationships affect the dissonance of dominant chord alterations?
Intervallic relationships between the altered tones and the other chord tones play a significant role in determining the perceived dissonance. Certain intervals, such as minor seconds or tritones, tend to create more dissonant and unresolved sounds.
What is the importance of resolution tendencies in ranking dominant chord alterations by dissonance?
Resolution tendencies of the altered tones impact the perceived dissonance. Some alterations have a stronger pull towards specific resolutions, while others may create a more ambiguous or unresolved quality, affecting their ranking in terms of dissonance.
How does harmonic context influence the dissonant quality of dominant chord alterations?
The overall harmonic context in which the dominant chord alterations are used can influence their dissonant quality. The surrounding chords and the progression’s tonal center can shape the perception of dissonance and contribute to the overall musical effect.
How should musicians consider musical effect and resolution when ranking dominant chord alterations by dissonance?
When ranking dominant chord alterations by dissonance, musicians should consider the desired musical effect and resolution. Some alterations may create a more tense and unresolved sound, while others may provide a smoother and more resolved tonal quality, depending on the musical intention and context.