Altered Dominants: b9, #9, #11, b13
Nudge a dominant chord's 9th or 13th up or down a half step and you get extra tension — exactly the kind that resolves with real force into a minor tonic.
Four alterations, one idea
An altered dominant raises or lowers the 9th and the 5th (reinterpreted as a 13th) of a dominant 7 chord by a semitone in either direction: b9, #9, #11, and b13. Each one adds a specific flavor of extra tension on top of the chord's already-unstable dominant function.
Why it resolves so well
These altered tones frequently come straight from the parallel minor scale, so when a dominant chord resolves into a minor tonic, the altered notes already line up with where the harmony is headed. Jazz musicians call this whole family of sounds "V7alt" — a dominant chord dressed up with some combination of altered tensions, chosen by the player in the moment.
Common questions
What is an altered dominant chord?
A dominant 7 chord where the 9th and/or 5th (as a 13th) is raised or lowered by a semitone, adding extra tension.
What are the four common dominant alterations?
b9, #9, #11, and b13 — each a half step from its unaltered chord tone.
Why do altered dominants resolve so strongly into minor keys?
The added tensions are often borrowed from the parallel minor scale, so they line up naturally with a minor tonic.
What does "V7alt" mean?
Jazz shorthand for a dominant chord using some combination of altered tensions, chosen by the player.
Hear altered tension resolve
Melody Monkey's Songwriting Studio lets you alter any dominant chord and hear it resolve instantly.
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