Music Theory: From Beginner to Expert - The Ultimate Step-By-Step Guide to Understanding and Learning Music Theory Effortlessly (With Audio Examples Book 1) by Carter Nicolas

Author:Carter, Nicolas [Carter, Nicolas]
Language: eng
Format: epub
Published: 2016-08-10T16:00:00+00:00

Table 17: Possible chromatic alterations

for a Major type chord

Minor Chord Alterations

b9 and #9

Minor 7 chord consists of the notes: R m3 P5 m7. When we extend this chord to the 9th , and lower it by a semitone (b9), we get a minor 7 chord with a b9, so we write it: m7b9.

b9 is a unique note in this chord because and, if you remember, it is the same as the minor 2nd .

In C, the notes of this chord would be: C Eb G Bb Db.

If we raise the 9th by a semitone up (#9), we get the minor 10th note which is the same as the minor 3rd — which is already found in our unaltered chord. That’s why there is no point in doing this particular alteration.

b11 and #11

Extending the minor 7 chord to the minor 11 results in the notes: R m3 P5 m7 M9 P11. Lowering the 11th by a semitone (b11) gives a Major 3rd note. Again, in order to name this chord, we back down a third, to the 9th , and call it: m9b11. This is another chord that contains both the Major 3rd (Major 10th actually) and the minor 3rd . The notes of Cm9b11 chord would be: C Eb G Bb D E .

Raising the 11th by a semitone (#11) gives the Aug4th note. We call it simply: m9#11. The notes of Cm9#11 would be: C Eb G Bb D F#.

b13 and #13

Minor 13 chord has the notes: R m3 P5 m7 M9 P11 M13. The first alteration is the b13, which is the minor 13th – equal to a minor 6th . The name of this chord then is: m11b13. In C, the notes are: C Eb G Bb D F Ab.

The second alteration is the #13, which is equal to a minor 7th . But since we already have a minor 7th in the initial chord, there is no need for this alteration.

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